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Post by rick on Mar 12, 2022 20:52:49 GMT -5
The word "integrity" always comes to mind when I think of Linda, for example, doing "Pirates of Penzance" in Central Park, insisting on doing a standards album (and then it becoming a success), insisting on a Spanish-language album (and it becoming the most successful Spanish-language album in the history of the U.S.).
Then I thought, "What projects did Linda agree to do more for the commerce aspect?"
The ones that came to mind for me are:
"Somewhere Out There," the duet with James Ingram. Universal wanted a hit song to go with "An American Tail," and, although I think she does a great job, I can't imagine that it would have been a song she'd have chosen to sing otherwise.
"A Dream Is a Wish Your Heart Makes" from Disney's "Cinderella" tribute album. In my opinion, Linda was the big name draw on that album, and it wouldn't surprise me if she banked $1 million for recording that.
On Dec. 31, 1999, Linda opened for Jackson Browne and The Eagles here in L.A. on New Year's Eve heading into the new Millennium. From accounts back on the old Forum, Linda did maybe a 30-minute set and was out there, but I imagine she was in and out of there like a rocket.
I went out with a guy in 1982 who worked for Warner Elektra Asylum (WEA) and he said to me that "Linda Ronstadt was the stupidest woman on the planet." You can imagine my shock. His explanation was that she had had a string of hit albums in the 1970s and she should have stuck with that formula instead of doing "Pirates" or insisting on making an album of standards. Didn't see him much longer after that.
It seems in many instances Linda stuck to her guns even though her record company thought her ideas were wrong-headed. She proved them wrong. I've also wondered if she was approached to do a Christmas album, but then she basically gave them four standards and the rest seems like, "Well, if I am going to do a Christmas album, I'll do it my way and sing the songs the way I want, with the people I want."
"Cristal" was certainly an album that I can't imagine was anything but a labor of love on Linda's part.
And all of the guest appearances that Linda made on other people's records seem more to do with camaraderie with other singers / musicians than out of any desire to "get richer."
Since coming down with her illness, I think Linda has worked with John Boylan to try to come up with a revenue stream and I think that's why we saw the "Live in Hollywood" and "Simple Dreams" CDs and later on the PBS telecast of "Live in Hollywood." I imagine her books and the personal appearances she made to do Q&As were a way for her to make some coin, too.
Thoughts?
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Post by erik on Mar 12, 2022 21:53:49 GMT -5
Where to begin?.....
In the case of "Somewhere Out There"--my view is, yes, she may have done it in part for the money, but the fact that it was written by two great songwriters of the rock era, Barry Mann and Cynthia Weil, probably figured in as well. I also think that Steven Spielberg, a fellow Arizonan whose Amblin Entertainment produced the film, thought highly enough to ask her, and she said yes.
"A Dream Is A Wish Your Heart Makes": Maybe she did this for the money; but one never knows. While I have the soundtrack recording that includes the recording, I never once heard it on commercial radio. So whatever money she made out of it certainly wasn't out of any residuals; she was paid upfront, and that may have been that.
With respect to the Millennium Concert--well, since it was in a cavernous sports arena, then Staples Center and now Crypto.Com Arena, the only reason she could have done this was as a favor to her old friends, as she was even then down on the idea of music being performed in arenas and stadiums. And even if it was just for that reason, a 30-minute set was arguably cheating her old L.A. audience out of a moment to remember (IMHO).
I think the problem that W/E/A had with the projects that she did from the 1980's onward was that there really wasn't much of a successful track record to look at. Doing an album of standards had proven to be a financial boondoggle for Ringo Starr (1970's Sentimental Journey) and Harry Nilsson (A Little Touch Of Schmillson In The Night); and since Linda had the, I guess, unmitigated gall to do them in the age of MTV, Michael Jackson, and Madonna, the W/E/A execs must have shaken their heads in disbelief, and understandably so. And they then proceeded to turn whiter than sheets when she announced her desire to make an album of Mexican rancheras in Spanish in 1987, seeing as how when Joan Baez did a Spanish-language album in the mid-1970's (Gracias A La Vida), it bombed. It's hard for me to think they hadn't any right to be worried; and even in later interviews, while she still stuck to her guns, Linda herself realized she was taking enormous risks. The fact that the three Nelson Riddle albums and Canciones De Mi Padre all sold in the millions doesn't mean they weren't huge artistic and commercial gambles at a time of play-it-safe in the music industry.
In terms of the Christmas album--it took me nearly twenty years of time to really "get" it. Ironically, while I don't think her versions of the well-worn Christmas standards were in any way bad, they also didn't erase the memories of other artists' versions (including Elvis'), while the more mystical and ancient Christmas carols, like "I Wonder As I Wander", and "Away In A Manger", were far more untouchable in her hands. I've said this often, but I wish she had made a Christmas album during the apex of her career, instead of waiting near the very end, when he voice started slipping. Even to this day, the 2000 Christmas album is one that I like more than love.
As for Live In Hollywood--well, as self-critical as she is (which understandably can drive people, fan and non-fan alike, to distraction), at some level she must have realized that she was always appreciated for being a powerful singer with a wonderful stage presence and a true emotional connection to an audience, even if she was never quite comfortable in such an atmosphere and was so often devastatingly shy. Ironically, I think it was at least in part her natural shyness that added to her stage presence.
In short, it was what it was.
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Post by RobGNYC on Mar 12, 2022 21:55:21 GMT -5
I would add "Heat Wave." I don't doubt that it was fun to sing when she needed a fast song for live shows but for me, it's always felt out of place on Prisoner in Disguise and to release it as the first single feels like a financial/hit-record decision rather than an artistic one. Unlike "Tumbling Dice," which I think should have been the first single from Simple Dreams. Putting that song on the album was a brilliant artistic decision. I'd give her a break on the "Cinderella" song. I think that her love of Disney runs deep considering that she said in Rolling Stone "I want to play Snow White...She's my favorite character in literature." www.ronstadt-linda.com/artrs83.htmShe may have pocketed a big check but I think she really loves that song. In looking up Linda and Snow White just now, I ran across this article--it came up in an earlier thread in the LR Discussion but I didn't remember that Joe Papp was considering a production of "Snow White" with Linda (before "Boheme"). "The 'Snow White' that wasn't: Why Disney took a pass on a Joe Papp production that would have had Linda Ronstadt starring as the Fairest in the Land." jimhillmedia.com/editor_in_chief1/b/jim_hill/archive/2018/02/04/the-quot-snow-white-quot-that-wasn-t-why-disney-took-a-pass-on-a-joe-papp-production-that-would-have-had-linda-ronstadt-starring-as-the-fairest-in-the-land.aspx |
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Post by rick on Mar 12, 2022 22:13:33 GMT -5
I'd give her a break on the "Cinderella" song. Rob, I'm not trying to suggest that Linda is some money-grubber. As for Snow White, she did perform "Someday My Prince Will Come" on that Disney special on NBC in the mid-80s. I still think that she was probably paid handsomely to appear on that special. She was the reason I watched it. Again, Rob, I'm just posing a question to foster discussion on here. As for "Heat Wave," Linda has said that she needed up-tempo numbers because otherwise she would have just sung ballads. I think she did have a love for Motown and all of that music. She was smart enough to realize that she couldn't do concerts and just sing songs by the McGarrigle sisters. Re: her Christmas album, I think whether it was her idea or the record company's notion, she did it pretty much on her terms. Rob, I agree with you -- it would have been wonderful if she had recorded it an earlier stage in her career, but, yes, it is what it is. There is nothing wrong with Linda making money. As the old saying goes, it's "show business." It's a business. I think she did something like "The Simpsons" because she is a good sport. Same with "The Muppet Show" and the album "Kermit Unpigged." The only reason I bought "Kermit Unpigged" was for Linda. In my opinion, she was the name on that album and I hope she was paid well for it. But she seemed to enjoy it, too. Not trying to find fault, just having a conversation. As for the Millennium concert at Staples Center (now Crypto.com) I think if she had stayed for the whole concert and appeared on-stage with Jackson or with Jackson and The Eagles at the end in some sort of group jam, that would have been an event. Who knows? With all of the "Y2K" stuff going on, she might have wanted to just be home with her kids in case something happened. I will say that as much as I was into the "Get Closer" album in 1982 and I went to two nights of her stay at the then-Universal Amphitheatre during that "Get Closer" tour, the album feels a bit thin when I look back. There are moments I enjoy about it but she didn't have enough to fill out the whole album so some previously recorded material filled out the album. "Rambler Gambler" would have been a nice inclusion. Just an exercise. Curious to hear people's thoughts. I am grateful for everything Linda has given us. |
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Post by RobGNYC on Mar 12, 2022 22:24:38 GMT -5
Further on this topic, Playboy interview April 1980:
PLAYBOY: Do you do everything Peter tells you to do?
RONSTADT: No. If we disagree on something. I really re-examine it and if I still think I'm right, I go ahead. I remember "Blue Bayou" - Peter was afraid it wouldn't be a hit. He said we should shop around for some insurance. I said, "OK, get the insurance." But I knew it was a hit and it was the biggest single I've ever had. Sometimes he is real wild about stuff and I say, ''Oh, no. That will never go."
What does "shop around for some insurance" mean? I assume that Peter was concerned about putting it out as a single and wasn't considering excluding it from the album entirely but I've been confused by "insurance" since I first read the interview in 1980.
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Post by erik on Mar 12, 2022 23:21:47 GMT -5
Quote by rick re. "Heat Wave"/McGarrigle Sisters:
And I do think you have to balance the two styles, not just to satisfy the audience but simply because you have the ability. I've said this many, many times about Linda, that the ballads and the out-and-out rockers, instead of being in cacophonous competition, actually compliment one another and show Linda's vocal dexterity (IMHO).
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Post by Deleted on Mar 13, 2022 2:19:37 GMT -5
Linda said she had plans to do a Brecht & Weil album, but sadly that never came about, and she never even sang one of their songs AFAIK.
WRT Linda's Canciones era, I wonder if she would have gone to a different label, in Mexico even, if Asylum & Peter Asher had not yielded.
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Post by rick on Mar 13, 2022 2:29:00 GMT -5
WRT Linda's Canciones era, I wonder if she would have gone to a different label, in Mexico even, if Asylum & Peter Asher had not yielded. When I went to see Linda in "An Evening With Linda Ronstadt," the Q&As, first in Santa Monica, secondly in Northridge, and lastly in downtown L.A., she spoke very highly of Peter Asher and she said that he didn't fight her and he was supportive. |
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Post by Dianna on Mar 13, 2022 3:30:53 GMT -5
What does "shop around for some insurance" mean? I assume that Peter was concerned about putting it out as a single and wasn't considering excluding it from the album entirely but I've been confused by "insurance" since I first read the interview in 1980. I took it as possibly another song they both agreed would be a hit. ? |
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Post by Deleted on Mar 13, 2022 14:49:00 GMT -5
I think Asylum owed Linda her CDMP album. PoP had given Linda cheap publicity & highlighted her extending skill, it paid off. Nelson Riddle had paid off. And Linda could sell on her name alone by then.
Linda gave Asylum "Cry..Howl.." which was a big success too, I bet they were glad they obliged her.
AFA past-era fans & music genre, artists should not be held captive by their pasts & be stereotyped for company profits against their wills. Linda left Capitol because they wanted her to stick to Country Rock, she might have left Asylum if she felt constricted artistically.
Its interesting that Peter Asher did too. Was he a Capitol employee or freelance?
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Post by rick on Mar 13, 2022 15:21:29 GMT -5
Its interesting that Peter Asher did too. Was he a Capitol employee or freelance? As far as I know, Peter Asher managed and produced Linda Ronstadt and James Taylor. James, of course, did the duet with Linda on "Think It's Gonna Work Out Fine" from "Get Closer" and also sang on "Straighten Up and Fly Right." |
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Post by Partridge on Mar 13, 2022 22:18:26 GMT -5
As I remember the Y2K concert, the crowds were coming in slower than expected because of heightened security. Linda had to start performing while only half the seats had been filled. I got emails from many people that said they came mainly to see Linda and missed her completely because she started her show before the audience was seated. And since it was a reunion, I think many expected Eagles, Jackson Browne, and Linda Ronstadt to all be onstage together at some point. This was a big missed opportunity.
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Post by sliderocker on Mar 14, 2022 11:41:46 GMT -5
What does "shop around for some insurance" mean? I assume that Peter was concerned about putting it out as a single and wasn't considering excluding it from the album entirely but I've been confused by "insurance" since I first read the interview in 1980. I took it as possibly another song they both agreed would be a hit. ? Exactly.That's the meaning of insurance in the recording industry, especially during the 70s when the record companies insanely demanded every album contain three hits. Talk about pressure! And that strategy carried on into the 80s and probably the 90s. It also became a bone of contention as fans complained about the record companies pulling six songs from a 10-track album, meaning if you bought the three singles with six songs from the album, and then bought the album, you were paying for four additional songs! We made such a big deal out of paying $1.29 for a 45 and then $6.98 or $7.98 for an album. I have to think Peter would've trusted Linda on her instincts, even though part of a producer's job is evaluate a song's potential. Maybe Peter heard an early, unfinished version of the song, a rehearsal version and he didn't like what he heard? |
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Post by Deleted on Mar 15, 2022 8:59:29 GMT -5
I bought singles, then later the albums. LP vinyl was higher grade than singles & EPs, LPs were less warped, easier to keep clean, and had superior audio quality. Sometimes those 4 tracks were as good or better than the ones chosen to be singles.
My remaining Linda singles are mostly non-album songs, or from other artist's albums.
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Post by guest on Mar 15, 2022 11:35:31 GMT -5
she signed a contract with screen gems for television appeareances, in the late 1960s, for the money, around the time of 'The Flying Nun'- it may be how she wound up on The Johnny Cash Show a few times, all around the time of her first solo album. She also was on tv with John Beyner which may have been through the Screen Gems deal. Not sure.
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Post by sliderocker on Mar 15, 2022 16:27:44 GMT -5
she signed a contract with screen gems for television appeareances, in the late 1960s, for the money, around the time of 'The Flying Nun'- it may be how she wound up on The Johnny Cash Show a few times, all around the time of her first solo album. She also was on tv with John Beyner which may have been through the Screen Gems deal. Not sure. I don't think The Johnny Cash Show was produced by Screen Gems, although a high school classmate of Linda's worked for Raybert Productions which produced The Monkees TV series and Linda was among a large number of acts (Byrds, Buffalo Springfield, Jackson Browne, Lowell George) who hung around the Raybert Productions offices so that when the Monkees were free from filming their TV show, they could get together with the Monkees. Interestingly, in the Monkees's movie HEAD, there is a girl seen for a brief second who looks like Linda. If it was her, she may not have received screen credit, just as Jack Nicholson and Dennis Hopper had uncredited parts in the movies. The Monkees's wives and Peter's girlfriend also appeared uncredited in the movie. Screen Gems wanted to do a TV musical sitcom for Linda, which I think was around 1971 but for whatever reason, it didn't come to pass. I'm not sure but I think a TV pilot made in late 1971 may have been the sow Screen Gems had in mind for Linda. It was titled Bobbie Jo and the Big Apple Good Time Band, about the adventures and misadventures of a country-rock band with a female lead singer. The pilot starred Season Hubley, one of her first credits and the music was lip synched. If it was for Linda, I could see why she took a pass as all of the songs, like with the Monkees and the Partridge Family, would had to have been published by Screen Gems-Columbia Music and/or Colgems Music, with no refusal on the songs. Linda probably would've gotten a few hits but like the PF hits, chances are those hits would be forgotten today. It's also possible that Linda, who was as headstrong as Michael Nesmith, likely would've given the studio bosses a hard time over the music. Nez scared his studio bosses and he was also friends with Linda. So, he may have backed her or talked her out of doing a TV show in favor of the music. By the way, I believe Don Henley was a member of a group called Cherokee, which was one of the last groups signed to Colgems Records before that label folded in 1971. They had a one off single in 1970 that I recall, and remember seeing some publicity on the group. And I believe Don was mentioned as a member of the group. |
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Post by guest on Mar 15, 2022 20:49:35 GMT -5
^sliderocker, thank you for the very interesting reply. i find linda's early years to be not overly explored, in covering her storied career. In all of those years building up to her massive success, in my opinion, she pursued mega stardom relentlessly until she achieved it. thanks, again
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Post by rick on Mar 15, 2022 21:08:28 GMT -5
she signed a contract with screen gems for television appeareances, in the late 1960s, for the money, around the time of 'The Flying Nun'- it may be how she wound up on The Johnny Cash Show a few times, all around the time of her first solo album. She also was on tv with John Beyner which may have been through the Screen Gems deal. Not sure. I don't think The Johnny Cash Show was produced by Screen Gems, although a high school classmate of Linda's worked for Raybert Productions which produced The Monkees TV series and Linda was among a large number of acts (Byrds, Buffalo Springfield, Jackson Browne, Lowell George) who hung around the Raybert Productions offices so that when the Monkees were free from filming their TV show, they could get together with the Monkees. slide, in my memory, "The Monkees" WAS a Screen Gems production. For some reason I remember that. Here is what I found on Wikipedia { Wikipedia page for "The Monkees" (TV series) } -- " In the early 1960s, aspiring filmmakers Bob Rafelson and Bert Schneider had formed Raybert Productions and were trying to get a foot in the door in Hollywood. They were inspired by the Beatles' film A Hard Day's Night and decided to develop a television series about a fictional rock and roll group.[1] Raybert sold the series idea to Screen Gems in April 1965,[2] and Paul Mazursky and Larry Tucker completed a pilot script by August entitled "The Monkeys".[3] Rafelson has said that he had the idea for a TV series about a music group as early as 1960, but had a hard time interesting anyone in it until 1965, by which time rock and roll music was firmly entrenched in pop culture. |
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Post by RobGNYC on Mar 15, 2022 22:55:19 GMT -5
"The Monkees" closing credits show both "A Raybert Production" and the Screen Gems logo: The trading card says Raybert/trademark of Screen Gems.  |
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Post by sliderocker on Mar 16, 2022 0:18:47 GMT -5
I don't think The Johnny Cash Show was produced by Screen Gems, although a high school classmate of Linda's worked for Raybert Productions which produced The Monkees TV series and Linda was among a large number of acts (Byrds, Buffalo Springfield, Jackson Browne, Lowell George) who hung around the Raybert Productions offices so that when the Monkees were free from filming their TV show, they could get together with the Monkees. slide, in my memory, "The Monkees" WAS a Screen Gems production. For some reason I remember that. Here is what I found on Wikipedia { Wikipedia page for "The Monkees" (TV series) } -- " In the early 1960s, aspiring filmmakers Bob Rafelson and Bert Schneider had formed Raybert Productions and were trying to get a foot in the door in Hollywood. They were inspired by the Beatles' film A Hard Day's Night and decided to develop a television series about a fictional rock and roll group.[1] Raybert sold the series idea to Screen Gems in April 1965,[2] and Paul Mazursky and Larry Tucker completed a pilot script by August entitled "The Monkeys".[3] Rafelson has said that he had the idea for a TV series about a music group as early as 1960, but had a hard time interesting anyone in it until 1965, by which time rock and roll music was firmly entrenched in pop culture. As mentioned by Rob, Screen Gems was the main studio which produced The Monkees TV series. Raybert Productions was the sub-studio so to speak. They came up with the idea for the TV series, hired the four actors-musicians-singers-songwriters (all four could write songs and play a number of musical instruments). Bert Schneider, one of the producers, was the son of Columbia Pictures president and CEO Abe Schneider, and Columbia Pictures owned Screen Gems. So, everything related to The Monkees was essentially an inhouse production. Actor-director Jackie Cooper oversaw Screen Gems and greenlighted the Monkees' TV series. Linda's high school classmate who worked for Raybert corroborated Mike's and Peter's contention that Bob Rafelson became something of a sh*thead to the Monkees once they became huge stars while Bert Schneider would remain close to the guys. Mike mentioned in his biography Rafelson slammed him as an actor. He also mentioned he was up for a lead in another TV series later on, didn't say whether it was the 70s or 80s, and he decided not to do it. And whoever the executive producer was trotted out the Hollywood cliche to Nez that he would never work in "this town again." The Monkees were victims of the Hollywood system and proof that the system was not dead. And much as I would like to have seen Linda in movies and not so much a TV series, I hate the thought that she would've been treated the way Elvis was treated, the Monkees, Susan Oliver (talented, beautiful actress who was choosy about what projects she took on - she paid the price because she didn't agree to every project Hollywood wanted her to take), and hundreds of others. I think Linda would've been okay in the kind of movies Elvis was doing because she didn't care about being in the movies anyway, so it wouldn't have bothered her if she was in a grade B movie - in the 60s. Later on, as she became something of a diva, I could've seen her insisting on any movie she was in being a grade A effort, despite having a lack of acting ability. I still can't watch Pirates of Penzance without thinking how good that movie made Xanadu or Give My Regards to Broad Street look by comparison. Many think Pirates of Penzance is a good movie.It's not. It's pretentious and when it was released way back in the 80s, it looked like it had been made about 35 years before. Its color was truly bad Take Linda out of the movie, and is it really a good movie? Not really, and Linda doesn't add that much to it to improve it. But, none of those movies are good movies, despite Linda, Olivia and Paul, who didn't learn his lesson the first time with Magical Mystery Tour. I wished Linda had done some movies early on so she would've known that just because Pirates was okay on Broadway, didn't make it okay on film. She might have learned what Paul did not: just because you're a big name with a huge ego means that everything you do is going to be a work of art. |
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Post by Deleted on Mar 16, 2022 1:21:08 GMT -5
Where Linda might have done well is if she had done album/studio-only recordings of shows & operas such as others, including Maria Callas, did.
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Post by rick on Mar 16, 2022 2:06:28 GMT -5
Linda did the album “Cristal” and sang on it. She also worked with Philip Glass on “1000 Airplanes on the Roof” and “Songs for Liquid Days.” Those seem more like labors of love and to stretch herself creatively.
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Post by Deleted on Mar 16, 2022 7:31:51 GMT -5
I read or heard an interview with Linda, where she said Sony *asked* her to produce a glass instrument album for their Classics series. Sure, Linda singing on it was her indulgence too  I think PoP opened a few doors for Linda, not just personally but she got noticed too outside her rock zone. |
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Post by erik on Mar 16, 2022 9:14:42 GMT -5
Quote by sliderocker re. Linda and the movies:
I think Linda had an ego of sorts, but it was not as oversized as McCartney's, or 'Livvy's; and the comparison with Elvis must have a caveat placed in there that at least Linda's manager Peter Asher was definitely never Colonel Tom Parker, who forced his client to do the movies he did only for the money, when there was never going to be any real artistic satisfaction in doing them (that, and the fact that Elvis really wanted to do what he did better than anyone else, and that was making transcendent rock and roll). When it came to Linda playing Mabel doing THE PIRATES OF PENZANCE, in my opinion she was so enthralled about having played Mabel on the Broadway stage that she had almost no concept of the cinematic process, which is radically different from the stage. She was arguably in over her head when she did the film, and probably knew it on that film in a way that neither Sir Paul nor Olivia did on theirs.
Could Linda have succeeded as a sometime actress? It really would have depended on one of two things: how close to the real Linda the role she'd take on was, and who the director was. I always must from time to time how she could have worked quite well with her fellow Arizonan Steven Spielberg, whom she likely knew personally as far back as the early 1970's. And I maintain that, with her rural Arizona upbringing, her love of horses, and such, a role in a Western film would have worked as well. But really those are the kinds of things that can't happen now for obvious reasons.
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Post by Deleted on Mar 16, 2022 10:11:01 GMT -5
It was hard on poor Linda making that movie. She had to keep her costume and makeup on, got dehydrated and not enough bathroom breaks.
Being in the company of the other actors helped sustain her I recall her saying .
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Post by Partridge on Mar 16, 2022 15:19:37 GMT -5
For the money.
I think that Linda did those Mexican tourism commercials for the money.
But that's the very definition of commercials. Also the Stone Poney's Pepsi commercials and Linda's Coca-Coca commercials for the Japanese market. I heard those at The World of Coke in Atlanta.
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Post by Deleted on Mar 17, 2022 12:19:55 GMT -5
For the money. I think that Linda did those Mexican tourism commercials for the money. But that's the very definition of commercials. Also the Stone Poney's Pepsi commercials and Linda's Coca-Coca commercials for the Japanese market. I heard those at The World of Coke in Atlanta. And Remington with Frank Zappa. |
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Post by eddiejinnj on Mar 17, 2022 15:29:14 GMT -5
That commercial was weird even for its time, imo. I like to hear Zappa interviewed. He is very down to earth and funny. eddiejinfl
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Post by Deleted on Mar 17, 2022 18:50:48 GMT -5
Linda's pre-HDTW era is the one that interests me most. I think she did more diverse things to earn money, but Capitol & her musical friends in their communities, was a kind of think tank haven of inspiration.
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Post by Tony I forgot to log in again on Mar 17, 2022 22:35:46 GMT -5
And Remington with Frank Zappa.
Does anyone know the story behind this? I find it hard to believe that this was an actual commercial that was expected to be heard on the radio to promote Remington. Was it just a joke?
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