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ET - Winter 1997
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Everybody's Talkin' - Winter 1997

Winter '97 Volume 1997.1
Everybody's Talkin'
The Schmilssonian Published Quarterly - $4.00

This Issue

Happy New Year!

This month's typically-late issue includes an article about the film Son of Dracula which stars Harry and Ringo Starr. I originally wrote the article for the October issue as a tie-in to Halloween. But when the October issue was not mailed until well into November, I decided to hold the article for this issue giving me the chance to work a little more on it.

Once again, I really have to express thanks to Curtis Armstrong and Sue Schnelzer for contributing. Without their help this issue would be much shorter and less interesting.

Actually, I sort of hijacked Sue's column this month to present the story of my favorite Harry Nilsson related possession. Be aware, however, that for the next issue, Sue may come looking for your story.

I had hoped to present an interview with Gary Nilsson, Harry's half-brother, in this issue, but the holidays and the demands of my real job took precedence. I have had the pleasure of talking with Gary a few times and I know that you will enjoy hearing from him in the next issue of Everybody’s Talkin’.

In the past few months I have spoken to several people who knew and worked with Harry. One of the most interesting is E. J. Gold, a friend of Harry's. E. J. and Harry met when Harry was working on his first album. E. J. (credited as "Jeff Gold") photographed the original Something Wicked This Way Comes cover. The album was re-titled Pandemonium Shadow Show after Ray Bradbury's publisher (but not Mr. Bradbury himself) complained. Many years later, E. J. presented a show of ceramics, jewelry, and other artwork under the name "The Moonbeam Show". All the works are based on Harry's songs. You will hear more about and from Mr. Gold in future issues.

Son of Dracula
A carnival atmosphere complete with a Dracula makeup contest, search lights, hearses, and a hot-air balloon accompanies the midnight premiere of Son of Dracula in Atlanta, Georgia. A cardboard castle facade adorns the theater. The stars of the film, Harry Nilsson and Ringo Starr arrive in a hearse. Harry and Ringo settle into their seats (Harry's father sits just behind them) and the house lights dim...

Count Down, the son of Dracula, is "into just about every kind of music there is." The Count is about to be crowned the "Overlord of the Netherworld" when he has a change of heart. Dr. Van Helsing, proposes an operation which will make the Count mortal and give him the capacity to love - and force him to relinquish the Netherworld throne. Throw in Baron Frankenstein, "Daybreak", and some tracks from Nilsson Schmilsson and Son of Schmilsson and you have Son of Dracula.

"It is not the best film ever made, but I've seen worse" says Ringo Starr, the film's producer and co-star. Ringo rewrote the original script because it was "too flower power - the audience would have been asleep in ten minutes." Full of inside jokes and too-subtle humor, Son of Dracula was never destined to be more than a cult favorite. For Harry Nilsson fans, however, the film offers one of the few chances to see Harry performing his songs. Although the soundtrack includes nine songs, only "Daybreak" was written especially for the film.

Son of Dracula's director, Freddie Francis, began his film career as camera operator in the late 1940's (Mine Own Executioner). He was as a cinematographer in the mid 1950's (Moby Dick, Time Without Pity) then went on to direct a number of horror films during the 1960's and 1970s.

Son of Dracula is credited as an "Apple Films Production." It was distributed by Cinemation Industries. Ringo's Rapple Records produced the soundtrack album (featuring a gatefold cover and "Bite It" t-shirt iron-on) which was distributed by RCA.

Although, I do not think that Son of Dracula has ever been legitimately released on video tape, I once spotted a tape of the film in a video rental store under the title Young Dracula - apparently an attempt to cash in on Mel Brooks's Young Frankenstein.

Harry appears on the 1993 album Hang Out Your Poetry by Ceremony (David Geffen Company).

The credits list Harry under the heading "Guests." The album is produced by Mark Hudson. Hudson produced Harry's as yet unreleased Papa's Got a Brown New Robe recordings. Some of Harry's collaborators such as Jim Horn and Jim Keltner also appear on the album. Ceremony consists of Chastity Bono (vocals, percussion, acoustic guitar), Chance (guitar, vocals), Pete McRae (guitar), Steve Bauman (keyboards), Louie Ruiz (bass), and Bryn Mathieu (drums). The album was recorded at Capitol Recording, Lion Share Recording and Complex Studios, Los Angeles, California. All the songs were written or co-written by Chastity Bono, Chance, and Mark Hudson except "Breathless" by Dianne Warren.

Chastity Bono is the daughter of 60's pop luminaries Sonny and Cher.

Greatest Rock and Roll Stories
By Curtis Armstrong

I'm sorry to report that Harry makes a couple of appearances in a book called Rhino Presents The Greatest Rock and Roll Stories, published by Rhino and cobbled together by someone called Art Fein, who needs to get out more. The book is an attempt to do a Rock and Roll "Hollywood Babylon" (I'm sure there's a crying need for that) and, as such, it is a resounding success. There's no need to go into much detail here, but Harry figures in two stories, both Lennon-related. Of course, the Troubadour incident is exhumed, featuring a particularly unsavory picture of Harry with John and May Pang. This chapter is copiously footnoted (just like a real book), showing all the different versions of this complex and fascinating story. No one will ever accuse Mr. Fein of not doing his homework. It's just a pity his dog didn't eat it. More contemptible is his re-telling of the famous "Harry and John going to RCA during Harry's contract negotiations" story. This, of course, is a story Harry delighted in telling himself - but not the way Albert Goldman told it.

Goldman, of course, is the self-styled "biographer" (deceased now, happily) who specialized in the defaming of dead celebrities like Elvis, Lenny Bruce, and John Lennon. Goldman savaged Harry in his infamous Lennon biography, The Lives of John Lennon. This was the book, of course, that revealed that Lennon killed Stu Sutcliffe. Art Fein, who clearly never met a sleazy innuendo he didn't like, tells the Harry-John-RCA story exactly as Goldman told it, and prefaces it with the following: "...Nilsson rode on Lennon's draft, at least according to doubtable writer and provocateur Albert Goldman, who reported the following uncheckable incident in his scurrilous book The Many Lives of John Lennon." So, Goldman was a "doubtable" provocateur, reporting an "uncheckable" incident in a "scurrilous book," and yet the story is printed anyway, complete with the image of Harry "dragging" Lennon into the meeting and the following "quote": "If you don't sign that contract, I'm leaving the company. But if you do, well, my friend John's recording contract at Apple expires soon, too, so maybe..." Strangely enough, the book ends with a picture of the author with John and Yoko. The caption reads, "Art Fein in 1973 with some friends." I wonder what his "friends" would think about the sources he drew on for his own scurrilous little book?

On a nicer, if briefer, note - Harry is also discussed in a new book by Jon Burlingame called TV'S BIGGEST HITS: The Story of Television Themes from "Dragnet" to "Friends", published by Schirmer Books. It discusses Harry's theme for "The Courtship of Eddie's Father." At $25.00, it may be a little rich for our blood considering the Nilsson section lasts all of two pages, but it fills in a part of Harry's career that has been heretofore relegated to a TV trivia question. Harry did discuss "Eddie's Father" during a career retrospective radio broadcast a couple of years before his death, but this book tells the story from the perspective of producer James Komack, who picked him for the job. Brief as it is, a valuable contribution to the Nilsson literature.

Coconut Corner
By Sue Schnelzer

This issue's Coconut Corner continues the theme of "my most prized Harry-related possession." Roger Smith's prized possession, however, isn't something he can show you. But he can tell you about it:

I guess it has now been about two years since I created a little "Harry Nilsson Web Page" on the Internet. The page consisted of nothing more than a single picture of Harry and a few words about his music. I never expected it to be much more than that and I had no idea of what it would lead to.

Shortly after I created the page, I began to receive e-mail messages from fellow fans of Harry's music as well as from a few people who knew and worked with Harry. I was thrilled to "meet" others who shared my love for Harry's music. Not too long after that, I was exploring the music message areas within America Online when I discovered an area devoted to Harry. Involved in the discussion were Zak Nilsson (under the screen name of ZakVogon) and several other Harry fans who I now consider as friends.

The America Online message area was a lot of fun, but it wasn't available to everyone on the Internet. So I hacked together some software and started the Nilsson mailing list. The list began with about 12 of us from America Online and now has over 150 participants from around the world. Then I realized that there must be many Nilsson fans without access to the Internet, so I started this newsletter.

One afternoon during a break at work, a co-worker and I were shooting the breeze and he quoted a line from the film "Risky Business" in which the character named Miles says:

"Every now and then say, 'What the hell.' 'What the hell' gives you freedom. Freedom brings opportunity. Opportunity makes your future."
Okay, that's not exactly what the character says, but it's close enough for publication here. Anyway, that very afternoon I stopped by my post office box to get my mail. One of the letters I received was from Curtis Armstrong. In the letter he mentioned that he's a big fan of Harry's and that he'd like a subscription to the newsletter. I don't remember if I actually heard, or if I only imagined, the Twilight Zone theme playing as I realized that Curtis is the actor who played Miles in "Risky Business."

Continuing to take this story in seemingly unrelated directions ... although it may seem pointless, trust me, I do have a point! ... I have a friend (and fellow Nilsson fan!), who worked on "The Simpsons" TV show and she invited me to be a guest at a "table reading." Since I live in Florida, I'm not sure she really expected me to take her up on the offer. But, when I later heard that Zak had moved to Los Angeles, I decided to plan a trip to LA to see my friend, attend The Simpsons table read and to meet Zak and Curtis in person.

My girlfriend (at the time), Ritta, and I left Orlando on Saturday morning and flew to LA. We couldn't see much as the plane descended. The sky was filled with a hazy fog (no, I don't think it was smog). Unfortunately, that haze hung around for the duration of our trip. We rented a car and drove down to Anaheim. I guess we didn't get our fill of Disney in Orlando, so we had to spend a few days at that little park called Disneyland.

On Monday we drove up to the Westwood section of LA and checked into the Century Wilshire hotel. Ritta was able to pick the one word which perfectly describes the Century Wilshire - quaint. But, it's location was great. We could walk into Westwood which is filled with stores, restaurants, and restored old movie theaters.

On Tuesday, I called Curtis and he said he wasn't sure when we could get together. He was working on a TV movie. He asked if we'd mind meeting him on the set. Mind? No, we didn't mind. The TV movie was filming at a house in Brentwood. Curtis gave us directions to park at a public parking area and ride a film company van to the set.

As we turned into the parking area, I noticed a handlettered sign reading "Confessions" with an arrow under it. At first I thought it was some kind of California thing, then I realized that "Confessions" is the name of the film. We parked the car then rode in the van to the house where Curtis was filming. Neighborhood rules didn't allow vehicles to stop on the street in front of the house, so the van let us off at the corner and we walked to the set. We found Curtis sitting on one of those director's chairs in the driveway. He explained that he was waiting for the movie crew to get things ready for him to rehearse a scene. So we had some time to talk. We talked a little about Harry, about Disneyland and Walt Disney World, and about the movie and TV business. Curtis mentioned that once during the "Moonlighting" series (in which he played Bert Viola) he had to sing. He was told to go to the recording studio where the show's music was recorded and see Rick Riccio. Curtis replied, "Rick Riccio? You mean the Rick Riccio?" Curtis knew Rick Riccio's name because Riccio had worked with Harry on the Popeye soundtrack and other projects.

The delay before Curtis could rehearse his scene was longer than expected, so we took a break for lunch. We rode with Curtis in the van to the film company's "base camp" which was located in a parking lot of a school. We got the star treatment along with Curtis as we sat at folding picnic tables, ate catered food off paper plates with plastic utensils and drank lemonade from paper cups - wow, celebrities are really pampered!

After lunch, they were finally ready for Curtis, so we rode in the van back to the set. Curtis told Ritta and I where we could stand to watch as he went through his scene. We watched for a while as Curtis rehearsed and performed then we snuck out to leave Curtis alone to do his job.

The next day we met Zak Nilsson at his office. Zak works for a company that creates promotional materials for movies. He told us that he had worked on the poster and billboard for "Space Jam." I told him that there was a huge billboard visible from our hotel which advertised "Space Jam." When he finally got a chance to see the billboard, Zak remarked "It's big."

We went to lunch with Zak then let him get back to his job. That evening we drove around looking at some Harry-related hangouts and sights like the former St. James Club (now called "The Argyle"), the Bel Air Hotel, the Westwood Marquis Hotel, the Troubadour, Canter's Deli (as featured on Harry), and the driveway to Harry's former home in Bel Air (the driveway was all we could see of it).

On Thursday morning we met my friend at the Fox Studios lot. As you turn into the studios, you immediately run into a hubbub of activity. You find yourself driving down a New York street, trying to avoid construction vehicles, golf carts, catering vans, and people. We drove down that famous street and around a corner to some old buildings.

We parked and met my friend who took us into a big conference room. There weren't very many people there when we arrived, so we picked out some seats against the back wall.

Pretty soon more people started arriving and I started to recognize some of the actors. Nancy Cartwright who plays Bart sat in front of us, Dan Castellaneta (Homer) was next to her. Then there was Yeardly Smith (Lisa). Across the table were Harry Shearer and Hank Azaria. Before the reading began, I got up to get some drinks from a small table on the other side of the room.

At the drink and snack table, I met Yeardly Smith. She said "Hello" and I was totally charmed - her normal speaking voice is the same as Lisa's voice.

During the table read, the actors sit around a big conference table and read their parts. The episode they read the day we attended was called "Homer's Enemy."

During the read, Dan Castellaneta was especially funny. When he'd start to read as Homer, he'd slouch down in his seat and half-close his eyes. He added a few hilarious ad libs to the show.

Hank Azaria (you might recall he was the houseboy in the film "The Birdcage") was pretty amazing. He played five parts in the script and at times switched between three different characters talking to each other.

Pamela Hayden who plays Milhouse also impressed me. Her lines weren't particularly funny by themselves, but she managed to put so much enthusiasm and expression into them that they always got a big laugh.

Julie Kavner who plays Marge was absent, so Tress McNeille filled in. She did Marge's voice perfectly.

Bart's part in this episode was pretty small and Nelson only had a line or two, so Nancy Cartwright didn't have much to do. But, she did change a few of the lines to better suit Bart's personality ("Me?" to "Moi?" for example).

Harry Shearer (who co-wrote and co-produced Albert Brooks's album A Star is Bought which featured Harry as "Lassie" - I had to find a Nilsson connection!) was, of course, pretty amazing because he did about six voices in the episode. He also ad libbed a line or two.

Yeardly Smith, who plays Lisa, captured my heart. First of all, she was the only member of the cast who said "Hello" to me as we got some snacks and drinks from a table before the reading. Second, she's the only cast member who's normal voice is the same as her character's, so it was kind of charming to talk with "Lisa." Finally, after the reading, she was kind enough to sign Ritta's copy of the script even though it is a "faux pas" to ask for autographs at a reading. She wrote almost a paragraph and signed and dated it. I was very impressed by how considerate she was.

After the table read, we met Curtis for lunch at a deli in Hollywood. During the drive from Fox to the deli, the haze cleared for just a moment and we spotted the famous Hollywood sign - our first view of it since arriving in LA.

During lunch, I kept hoping someone would recognize Curtis and wonder who those two people with him were. If anyone did recognize Curtis, they didn't let on. This was in Hollywood, after all.

After lunch we rode with Curtis to his house where he played a few Nilsson rarities for us and showed us some artwork he has from E. J. Gold's "The Moonbeam Show" based on Harry's songs.

Curtis has an amazing collection of Nilsson-related items. Unfortunately, he had to get back to work so we didn't have much time to spend with him.

That afternoon we went to a taping of the Tonight Show. Zak and his wife, Leslie, joined us at NBC Studios.

My "Simpsons" friend was kind enough to use her connections to arrange for VIP passes for the four us so we didn't have to stand in the long line that Jay Leno always jokes about.

After the Tonight Show taping, Zak and Leslie took us to a real Mexican restaurant. We knew it was authentic because no one there (except us) spoke English. After the meal (which was excellent), Leslie asked what things we wanted to do while in the LA area. We listed a few things including a visit to the LeBrea tar pits. "Okay," she said, "let's go." By this time it was about eight at night and very dark. We drove to the tar pits and parked along the road. It was very dark. We walked a little into the park and realized that the tar pits is not really the kind of place to visit at night.

Leslie, Zak, and Roger

On Friday Ritta and I visited Universal Studios in Hollywood. On Saturday we visited the Griffith Park Observatory, and the LeBrea Tar Pits (which is much more interesting by daylight). Later that day, we met my Simpsons friend and she drove us to Santa Monica and along the coast. We could sometimes spot the water through gaps in the haze. That night we boarded a plane back to Orlando.

Although, it was quite an adventure visiting Disneyland, touring Los Angeles, "meeting" the Simpsons, and seeing Jay Leno, the best part of the trip was meeting Curtis and Zak in person.

During the past two years, I've also had the pleasure of meeting Harry Nilsson fans who were visiting Orlando (including Coconut Corner columnist, Sue Schnelzer). And, through phone calls, letters, and e-mail, I've met dozens of other fans, friends, and family of Harry's. It is the memory of these meetings ... and the prospect of more of them in the future ... which are my most prized Harry Nilsson-related possessions.

This issue of Everybody’s Talkin’ is copyright © 1997 by Roger Smith. All rights reserved. No portion of this publication may be reproduced in any manner without the permission of the publisher.