Music In My Shoes
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Music In My Shoes
Challenger Shuttle Disaster, Batman TV Series, and Dire Straits "Skateaway" E116
A countdown, a cheer, and then a white bloom in the sky. We start with that January morning when Challenger lifted off with a teacher aboard and a nation watching, and we unpack how a routine launch became a rupture—O-rings, cold air, and the way live TV freezes time. The story isn’t just technical; it’s personal. Sneaking a screen at work, bargaining for a miracle, and remembering how hope hangs on for a few impossible seconds. From there, we follow the thread of wonder into a brighter palette.
Cue the Batman theme. Adam West’s deadpan responses and the pulpy poetry of Bam and Pow show how camp can be both silly and exacting. We dig into the Batmobile’s improbable lineage—from the 1955 Lincoln Futura.
Then it’s a crate-dig through the Beach Boys Party album, where Barbara Ann’s singalong charm and Dean Torrance’s cameo capture a band between eras, loose and luminous before Pet Sounds. We jump to Elton John’s Your Song and the city-streaked cinema of Dire Straits’ Skateaway—drums, Roy Bittan’s piano, and a roller girl writing her own movie. We also get candid about taste with Blondie’s shift to The Tide Is High and Rapture.
Finally, the volume tilts toward Public Image Ltd.’s Rise and the notorious Album project. “May the road rise with you” meets “anger is an energy,” a split-screen of blessing and bite, wrapped in no-frills packaging that turned the grocery aisle into a design joke.
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Got to feel it in it, too. You've got to feel it in it out there, hey everybody.
SPEAKER_01:This is Jim Boge, and you're listening to Music in My Shoes. That was Vic Thrill, kicking off episode 116. I'm thrilled to be here with you. Let's learn something new or remember something old. Forty years ago on January 28th, 1986, I was at work, and people were still talking about the Super Bowl. The Super Bowl had been a couple of days earlier. That was the big win for the Bears in Super Bowl 20. And what made the day different is the space shuttle was launching with a teacher on board. And the space shuttle, this is about mission 51, I believe, and it kind of had become routine and it really wasn't making the front page of the paper anymore. And it's kind of falling deeper and deeper inside of the paper. Sometimes you didn't even know that it happened. And they decided to, you know, kind of make it a big thing again by having a non-astronaut. And, you know, they decided, oh, who should it be this person or this person? And then, you know, trying to figure it out. And they decided, why don't we make it a teacher? And they had a contest. I think there was about 11,000 people that applied to be this person. So Krista McCulliff, she was a person that was chosen, a teacher from New Hampshire. And I wanted to see, you know, what it was like, you know, not that it would be any different in my mind. I mean, when the space shuttle went up, it kind of went up the same way each time. So I was at work and I found a television that I could watch without being missed.
SPEAKER_03:Oh.
SPEAKER_01:I did a little reconnaissance the day before, found an area that I could go and kind of just blend in, and no one would think any wiser. Ignition, blast off, everything seemed routine. One minute and 10 seconds into the liftoff, mission commander Dick Scoby says, Roger, go at throttle up. Three seconds later, pilot Michael Smith says, uh-oh. And then the loss of all data as there was an explosion. You hear someone from NASA say, obviously a major malfunction. Yeah, I remember that. There's silence in the crowd watching, you know, they're at the Kennedy Space Center in Florida. There's family and friends, you know, of all seven members of the crew. There are children from the school that Krista McAuliffe was a teacher at. A short time later, the stunned crowd and us watching on TV here, we have a report from the flight dynamics officer that the vehicle has exploded. Now I gotta be honest with you, Jimmy. You know, I'm watching it, and it wasn't, you know, it was the same until one minute and thirteen seconds, and then all of a sudden there's this big white smoke. But you see things flying, and my initial reaction was the space shuttle's flying now and they're gonna land, but then, you know, I guess a few seconds later, you know, 20 seconds later, however long it was, you realize it's one of the solid rocket boosters, and it's not the actual space shuttle itself.
SPEAKER_03:Yeah, it all kind of went in different directions and white smoke, and I was hopeful that maybe they were in a capsule that, you know, ejected or something, but me too.
SPEAKER_01:Me too. Like you think that there is some way that it's going to be okay. You know, one second the Challenger is headed into the sky, and the next second all you see is this white smoke. The temperature at Cape Canaveral, where the shuttle took off from had dropped to below freezing the night before the launch. And I think it was about 36 degrees around launch time, if I'm not mistaken. I think that's what it was. And it was the coldest temperature they ever had a launch in. You know, usually it was much warmer.
SPEAKER_03:It's really unusual for Cape Canaveral, Florida. Right.
SPEAKER_01:Yeah. But they had this cold front that had come in. So O-rings used to prevent flammable gas from coming out of the solid rocket boosters had not been tested in such cold weather. They never thought to test it. There is the space shuttle, the big external fuel tank, and then the two solid rocket boosters that I was just talking about. And you can see on video afterwards that there was smoke coming from the right solid rocket booster on ignition that you didn't necessarily notice when it was going up. You just everything seems normal. As Challenger takes off, the hot gas is seeping from the rocket booster create a hole in the external fuel tank and also weaken a strut holding the rocket booster to the external tank. And basically the strut fails, and the rocket booster and the fuel tank hit into each other. And then the explosion. And, you know, the fact that the pilot had said, uh oh, I mean, obviously they could see something was happening before it actually did. You know, I'd been fascinated by the space shuttle program. The fact that we could launch into space like a rocket and then land on a runway in the desert, or actually they ended up doing some at Cape Carnarval, I believe, but landing like a plane, you know, it was just so cool to me that that you could do that, that rockets and space travel had changed so much. And when Columbia took off five years earlier on the first flight, I was glued to the TV. Like I got up super early, you know, I think it might have been like T minus seven hours before the flight took off. Like I just was glued. Because I want to say it was a Sunday, so I had all the time in the world to get up early and watch the takeoff. Back then, the front page of the newspaper, they still sold newspapers back then. It was mostly black and white. And they actually printed a color photograph on Newsday, which was the paper out on Long Island where I live, and I got um the newspaper and I saved it, but my father also worked at Newsday at the time, and he actually got a color reprint of it on like a gloss paper type thing.
SPEAKER_03:Okay.
SPEAKER_01:And I just thought it was so cool, you know, having that, because I'm like, this is the space shuttle. Two days later, me and some of my friends, we cut out of school so we could see the space shuttle land. It was absolutely pouring out. I mean, just absolute rain coming down. And I think we ran all the way from the school to my house. We're soaked. All right. I get to the house, I call my mother up. Hey, I left school, I wanted to watch the space shuttle land. Can you call up and tell them I'm sick and I'm not coming back to school today?
SPEAKER_03:That's a good mom.
SPEAKER_01:She is. She did, you know, she did it for me. I asked her if she would do it for the other guys, she said no. She would do it for me, but she wouldn't do it for them. So April 9th, 1994, I was in Florida. I'd just gotten to this part of Florida, and I got to see the space shuttle Endeavor launch from afar. You know, I wasn't right up close to it, but at nighttime in the dark, when it goes off, I mean you can see from forever, you know. Forty years since the Challenger disaster, that took the lives of Dick Scoby, mission commander, Michael Smith, the pilot, Ronald McNair, mission specialist, Ellison Onazuka, mission specialist, Greg Jarvis, payload specialist, and as I mentioned, Krista McAuliffe, payload specialist, teacher in space. Jimmy, let's go back 60 years to something a little bit lighter. Batman on TV premiered January 12th, 1966, and was on for three seasons ending March 14th, 1968. Batman, Batman, Batman. Everybody remembers the theme song. Everybody does. Adam West plays Bruce Wayne, his alter ego, Batman, and Burt Ward is Dick Grayson and Robin, the dynamic duo. Fighting crime in Gotham City. Now I have to be honest. I thought Gotham City was New York City. I just thought that they, you know, had another name for it.
SPEAKER_03:I always assume so.
SPEAKER_01:When the Jets play, they sometimes wear like a city thing that says Gotham, you know. I don't know if it's Gotham or Gotham City, so they must think it's New York City also. But I always assumed that it was New York City. Is it not? I don't know. I don't remember. I can't say I remember every episode and scenes and everything. A lot of it to me, a lot of it to me was you could tell it was filmed in Hollywood. Like I could, you know, when they're walking on the outside of the buildings and things. Do you remember the walking on the outside of the buildings and like famous people would pop their head out the window?
SPEAKER_03:Yeah, that's right.
SPEAKER_01:And they would have a joke or something. This is what made Batman good because it wasn't the same old thing. It was totally different than anything that was happening.
SPEAKER_03:It was tongue in cheek. They were not taking themselves too seriously. Trevor Burrus, Jr.
SPEAKER_01:But but on the same hand, Adam West, as he plays Bruce Wayne or Batman, was extremely serious as he would say his lines. Right. No matter what they were, and always trying to teach a story to the boy Wonder, Robin. And, you know, I remember one where Robin says, I can't remember, and Batman's like, maybe it's because you were looking at that girl that we went by. You know, just silly things. They live in Wayne Manor as Bruce Wayne, the millionaire, and Dick Grayson as the orphan. And he took them in and, you know, raised them and introduced them to, you know, fighting crime. Alfred the Butler is the only one who knows who they are, that they're the Cape Crusaders, as long as uh being the two people that live at Wayne Manor. Quick to the Batmobile. The Batmobile was converted from a one-of-a-kind concept car, the 1955 Lincoln Futura.
SPEAKER_03:Oh, cool.
SPEAKER_01:It cost$250,000 to build in 1954. Only one. Immediately they put it in car shows across America so people could come and see the future. In 1965, the car was sold for$1 to George Barris, a car customizer who converted it into the Batmobile, and then the car sold for$4.62 million in 2013.
SPEAKER_03:Why did they give it to him for one dollar? That's a good question.
SPEAKER_01:I looked it up in multiple places, and they all said, you know, I I had heard it was cheap. I didn't realize it was a dollar, and I looked it up in multiple places, and they gave it to him for a dollar. I guess they had no need for it anymore ten years later. You can't, you know, nobody wants to see it. But little did they know that as time went on, people would want replicas of the Batmobile or actually replicas of that uh Futura, because they were done by some of the TV shows that do um car uh customizing that someone actually found like an original skin and they put fiberglass all around it so that they had like a a template that then they could put stuff inside of that to create a future.
SPEAKER_03:They made a mold.
SPEAKER_01:Yes, a mold. Very good. I appreciate that. I don't know what what what's with me that I couldn't think of what the word was. The first two seasons it was on TV, Batman was on two nights a week. And it was always a two-parter. Do you remember when you watched it in syndication, Jimmy, that it would be like, stay tuned tomorrow.
SPEAKER_03:Same bad time, same bad channel.
SPEAKER_01:Correct. And they would do that because you had to see what the the remainder was. You know, instead of one hour show, they made it two 30-minute shows. And they put that cliffhanger in so that you would be like, oh my, I gotta watch this. This is like and it worked. First two seasons they did it. Third season, they went to the normal one uh episode a week. The villains, the joker, Cesar Romero did a great job as the Joker. You know, when I think of the Joker, I always think of him first. He's always my first Joker. Burgess Meredith, he was the Penguin. Frank Gorshin as the Riddler. Jimmy, did you know that Frank Gorson, he was on the Ed Sullivan show the first night the Beatles were on it, February 9th, 1964. And Davy Jones was on it too, because he was in Oliver. I think he was on Broadway doing Oliver, and he was on with another performer from Oliver, but they were all on the same episode as the Beatles. Now, as many times as I've seen the Beatles on there, I've never seen anyone else from that episode. You know, like that's all I see. But lo and behold, there they were. Catwoman, third season, was played by Eartha Kitt, who sang Santa Baby well before Madonna ever did. Right. The fight scenes, okay, Jimmy, the fight scenes look like an absolute comic book to me. Bam, pow, zap. Yeah, they wanted him to look like a comic book. Yeah, it was just so cool. Like it almost made it seem like if you've never seen it out there, you know, there's a fight scene, and as it looked like they were going to hit someone, all of a sudden it would be like this comic-y looking bam or pow or whatever. Because that's what would happen in a comic book. And what would happen in a comic book, but it made it look like it w it almost I felt like it made it more violent by saying that. Oh.
SPEAKER_03:And the noise, you know. Yeah, they'd have horn hits. Yeah.
SPEAKER_01:And it was just kind of cool, you know, the way that they did that. The the whole thought process. Again, a show very different from any other show at the time, you know? To the Bat Cave, there's not a minute to lose. This is where they parked the Batmobile, but it's also home base for the whole bat world. I think they had like a nuclear reactor in there, and they had all kinds of bat computers. And if you look and if you think about it, everything was bat something, you know? Yeah. I think they had like shark repellent, but it was like bat shark repellent or something. I can't remember everything. But just everything had bat in front of it.
SPEAKER_03:The bat phone.
SPEAKER_01:The bat phone. That was what red or something that was connected to what it was red.
SPEAKER_03:And was it was it under a bubble? I thought Was it like you had to take a thing off the top before you could answer the bat phone, or am I imagining that?
SPEAKER_01:I think so. And didn't it go to like uh did it go to Commissioner Gordon? Yeah. Direct line. Direct line. The theme song was composed by Neil Hefty. He also composed the theme and show music for the TV show, The Odd Couple. The music was done by the Wrecking Crew, including Carol Kay on bass and Tommy Tedesco on guitar. And the eight voices you hear singing Batman are part of the Ron Hicklin singers. While the Wrecking Crew was the band actually playing songs on hit records, the uh Ron Hicklin singers did the same for background vocals. So the you know, the Beach Boys had the Wrecking Crew, Sonny and Cher had the Wrecking Crew, like they played, you know, so many. I think they did the first Birds album, if I'm not mistaken. Really? So they did a lot of the music. Ron Hicklin singers were the ones who did all the background vocals for bands because they had the good voices. And they sang background on the Partridge Family songs, Sammy Davis Jr., The Candyman. They did the Brady Kids. They sang commercials like Kawasaki, Let the Good Times Roll, and McDonald's You Deserve a Break Today. I mean, they did so much, and I find that just fascinating. I really think that's super cool. Da Batman. Wow, Jimmy, let's revisit some more music in my shoes. The Beach Boys Barbara Ann reached number two on Billboard Hot 100, January 29th, 1966. Uncredited at the time, Codley vocal was Dean Torrance of the group Jan and Dean, another California sound surfing car band. I really liked Jan and Dean. I first heard of them. I got a 45 of them doing a song called Ride the Wild Surf. I think it came out in 1964. And I just, you know, back then I was able to get music from, you know, my aunts had moved out of my grandparents' house, and my grandmother said, you know, oh yeah, you can have them or listen to them, whatever. So I would listen to this stuff because I had never heard it. I who's Janon Dean? I don't know it. Let me listen. It's new to me. And I just fell in love with them. I thought that they were so cool. And to me, it was like, oh, it's Jan and Dean. The Beach Boys are all these people, but it's Jan and Dean, you know, not realizing that they all have the wrecking crew playing the songs for them. And but, you know, they were really cool. I really enjoyed them. But like I said, Dean Torrance was, you know, one of the voices on Barbara Ann. If you listen to Barbara Ann, you'll say, yeah, that's kind of a voice I don't normally hear on a Beach Boy song. You know? What they would do is each band would release a song, and then the other one would take the music and then write different words and just keep going back and forth. And it was like a friendly rivalry. They got along, you know. You thought that they didn't get along because the media made it that way, but they truly did get along, you know?
SPEAKER_03:Yeah.
SPEAKER_01:The song was off Beach Boys Party, which was a live in studio album that was just mostly covers. They did three Beatles covers, they did a Everly Brothers, a Bob Dylan cover. You know, they actually made fun of some of the Beach Boys songs, which was kind of funny, you know, because it's cool to see people make fun of themselves, have some humor with it. So they played in the studio, and then they overdubbed family and friends talking later. So they just had people just talk and they recorded it, and then they put it on this Beach Boys party to make it seem like it was like a small gathering truly on the beach when it wasn't. But what's cool is they they're playing the instruments, you know, it's mostly acoustic. Um it's them with their voices that sound absolutely terrific because there's not a whole lot of overdubbing of that. And it's really cool listening to them do these other songs and do stuff. They had to put a record out before Christmas, and I bel I don't know if it came out October or November of 1965. I just know that it wasn't until January that Barbara Ann hit number one. They didn't know Barbara Ann was gonna hit number one. It was just a song that they liked. It was a cover of a song by the Regents, and it's just super cool. Probably 10 years, 11 years ago, they released a Beach Boys Party where it has every song that they did, and they did 81 songs. So they did some of these songs that I talked about, three Beatles songs. Well, on there, there's another Beatles song. And then there's different, you know, they did one time, or they stop in the middle of it and they're laughing, or it's just so much, but it is really cool to listen and to kind of see what was going in their minds with them just having fun. And this is all right before pet sounds, you know, this is all right before they start to become this band that everybody's taking super seriously because of what they're doing. And that's what I really like about this album. I discovered it in my grandmother's basement. It wasn't even upstairs where, you know, my aunts had all their music or my uncle had his music. It was down in the basement. And in the basement, that's where they had parties, you know, back in the day. And you know, I found this probably around 1980. It had been sitting in the basement, you know, behind some stuff in a box, and I was like, this album cover is kind of cool. And I put the album on and just started listening to it, and again, it's just something that I ended up liking.
SPEAKER_03:What's the name of the album?
SPEAKER_01:Beach Boys Party. Cool. It's very cool. Elton John, your song, peaked at number eight on Billboard, January 23rd, 1971. Elton John's first hit, it was actually the B side of Take Me to the Pilot, the 45 single. It's a little bit funny, this feeling inside. I'm not one of those who can easily hide. It ranks at number 202 on the Rolling Stone 2021 version of the 500 Greatest Songs of All Time. Dire Straits Skate Away peaked at number 58 on Billboard Hot 100, January 31st, 1981. This is a top 250 favorite song for me. I absolutely love this song from the first time I heard it on the radio. I bought the album Making Movies because of this song. Now it has other songs on it that became, you know, greater hits and people loved and just love them still. But this song is just so different for dire straits. Opening drums are killer. It's got this beat, and it goes throughout the whole song that's just different than what's happening at the time. A girl roller skating in a city with a portable radio on her hip. You know, she's got headphones on her ears, you know, she definitely had, you know, her own world in the city, and you know, those are some of the words from the song. And if you watch the video, the video mimics everything from the song. She gets rock and roll and a rock and roll station and a rock and roll dream. She's making movies on location, she doesn't know what it means. And to me, that was just so unbelievable to hear these words and you know, to be this young kid. And it's like, to me, you can make anything with a song, you can make it like your own interpretation, you can make these own little movies by acting however you want while the song is playing. And that's what I took out of it, like this girl that has no cares, roller skating through the city. And it just, and I still feel that well. I think that you can look at me now and see my enthusiasm.
SPEAKER_03:You're very enthusiastic about it.
SPEAKER_01:Yeah, so Roy Bitten, he was Bruce Springsteen's uh piano player in the E Street band. He actually plays piano on this song as well as other songs on the album, and it gives it just such a cool vibe. It gives it some maturity in certain parts, and it's just, like I said before, it's so different for dire straits. You know, you just think of it the guitar-driven. Now, the song ends, you know, with a really cool guitar solo, but leading up to it between the drums and Roy bitten on the piano and the visions of, you know, Roller Girl, man, like I said, it's from the 1980 album Making Movies, and it's it's really cool. If you haven't checked it out, I really recommend it. I think it's fantastic. It's in my top 250. Blondie, The Tide is High, peaks at number one on January 31st, 1981, on the Billboard Hot 100 chart. It was all over the radio, November and December 1980, and in January 81. It's a cover of a 1967 song by the Jamaican group, The Paragons. And this is where I started to lose interest in Blondie. The sound took a new direction. Their follow-up single was Rapture. All I can say to that is, wow, that is not a very good song, you know, in my mind. I just don't like it. And the tide is high. That's not what I was looking for out of the band Blondie. And I know everybody changes and everybody does what they want, you know. I I know that it made them a lot of money and a lot of new fans and everything, but that's kind of really where my interest in them really started to wean. What I will say is I continue to listen to Blondie, but I just didn't listen to anything that was really past the song Atomic, which was the previous single. So I would listen to all the old stuff. Yeah. And that's what I liked. I mean, we all like what we like. But Jimmy, I'll tell you what I still like. Tick, tick, tick. It's Minute with Jimmy.
SPEAKER_02:It's time for a Minute with Jimmy, Minute with Jimmy, Minute with Jimmy. It's time for a minute with Jimmy, Minute with Jimmy, Minute with Jimmy.
SPEAKER_03:Okay, Public Image Limited in 1986 was touring throughout 1985 with a touring band that wasn't up to snuff for what John Leiden, the singer, wanted for his next record. So he said, Hey, uh, can we bring in some studio musicians maybe that can play a little bit better than my touring band? So Bill Laswell, the producer, said, Okay, I'll play bass. I'll get uh Steve Vai on guitar. Maybe he maybe he knows how to play guitar. Ginger Baker from Cream uh played drums, Tony Williams from Miles Davis trio on drums, and uh Bernie Warrell from P Funk played keyboards. So just this incredible heavy hitter band. They come out with this uh really great seven-song record, long songs, you know, for a band that came out of the punk movement and the post-punk, where everything's short and fast. It's like these kind of slow six, seven, eight-minute songs, and a lot of great songs on there, like uh FFF, Farewell, Fairweather Friends, Fishing, and of course, one of their most beloved songs, Rise.
SPEAKER_01:Yeah, Jimmy, you absolutely knew what I was gonna talk about next here. So in the fourth week of January 1986, Public Image Limited was LIR Screamer of the Week with Rise. And you're 100% correct. Steve Vai was on it. This particular song, Tony Williams was. I get a kick out of people that play with Miles Davis or people that play with any of those big band type of people back in the day, any of those orchestras, anything, and now they're on a pop, you know. I don't want to say that rise is a pop thing, but it's very different than what they were playing back in the day. And I love listening to things and their interpretations and what they do, and and it's just super cool. This song is a song of two different moods. The welcoming, May the Road Rise with You. Yeah. And the complete opposite, Anger is an energy. And I really liked how the song had these two faces, and you could just be, you know, May the Road Rise with you, and you're just like, do, do, do, you know, like it's you know, a takeoff on the Irish blessing, and you know, it's just all and the next thing you know, it's he's just screaming, anger is an energy, you know, and it's just super duper cool to be able to put all of that together. And I think him doing that, that's what makes this song, this post-punk song, that he's able to take these two worlds, put them together, and one second it's happy Johnny, and the next one it's the Johnny Rotten that you used to remember.
SPEAKER_03:Yeah.
SPEAKER_01:You know?
SPEAKER_03:And just the fact that I never knew until really I started researching this album for this little segment of all the players that were on it. I just knew that it was a great Public Image Limited album. And I would have never heard that that was Steve Vai. Steve Vai at that time was playing, you know, all kinds of crazy guitar solos on everything. He was playing with with David Lee Roth. Yes. And and he didn't know any of that sort of stuff. He was very experimental with his guitar work on this album, but it didn't sound like the Steve Vai from David Lee Roth. And same thing, like Ginger Baker, knowing that, yeah, okay, his kind of tribal drums that he did on some cream stuff, yeah, that comes through. But again, it doesn't sound like cream, it doesn't sound like Miles Davis, it doesn't sound like P Funk at all. But these amazing players were able to get on the same page with what Johnny had in his head and and make these great songs.
SPEAKER_01:Yeah, I agree a hundred percent. I remember when I first heard that, you know, those guys were playing on the album, and I'm like, how is that possible? But Bill Laswell, you know, he comes from a whole history of all different types of music. I mean, he's produced everybody, you know, it's just he has a way of getting everybody on the same page. And like you said, you know, John Lynn, he came off of that tour knowing that this that band and I saw them on the 84 tour, there's no way that they could have done this album. And and I don't mean any disrespect. You know, I can't do an album, you know, that's just not what I can do. And I think that even musicians have limitations on what it is that they can do. The 84, that tour, I loved it. It was great, but there's no way they're doing this album at all.
SPEAKER_03:You need to Yeah, this album's a lot more thoughtful and intricate.
SPEAKER_01:Yeah, you need these people that did it. Um and FFF is a fantastic song. I love the song Home also. That's another really good song on the album. Yeah. I think the album is super underrated. I don't think it got the the do justice. I think only most people heard Rise. But it's a great album.
SPEAKER_03:And and for those that don't know, it's called Album at a time when and actually the the CD was called Compact Disc. Yes. And so the title of the record depended on the format, and it was at a time when generic items were kind of a new thing, like, oh, you buy the you go to Kroger and you get the thing that just says green beans on it.
SPEAKER_01:Yeah. So all the products, like you said, was a white label, and then it it said what it, you know, album, cassette, single, 12-inch single, poster, okay? And then at the towards the bottom, it would say um Public Image Limited in like this blue bar. For me, Pathmark would sell no frills, and they had an aisle, the no frills aisle, and it was white labels, and at the bottom, in the middle, it would say no frills with a blue and a red bar going around. And I know a bunch of different you know stores did this, but I was just like, this is marketing genius. So some of the the no frills, you know, you mentioned some of them, but vegetable bean soup, grape drink, window cleaner with ammonia, and these are my probably my two favorite. Cola, beer, king-size cigarettes filter lights, potted meat food product. Not my favorite. I don't even know what that is. All right.
SPEAKER_03:But yeah, it's like why do you have to include the extra words? So if it's potted, if it's meat, why do you have to say it's food? And then why do you have to say it's a product?
SPEAKER_01:That's a good question. That's a scary thing. That's something that you should definitely stay away from. So, you know, like we talked about, the whole marketing thing was super cool. I went to see them, uh I saw them in June of 1986 at the Beacon Theater, and we'll talk about that a uh, you know, in a future episode. I bought two shirts. It may be one of the shows, one of the few shows that I bought two shirts in my whole life. Because buying one was difficult enough. Right. But I bought two because one was the white tour t-shirt and it was a white shirt, and one shirt was black that said black tour t-shirt on it. And I said that is the coolest thing. The poster just says poster. Like I said, with this little bar that says public image limit. It says P-I-L, actually, I believe, at the bottom. And I just think the marketing is just super cool on it. I I I can't get over it. I really can't. My name is Jimmy. Holy smokes, Jimmy. That's it for this episode of Music in My Shoes. I'd like to thank Jimmy Guthrie, show producer and owner of Arcade 160 Studios. I just thanked you and you hit me. Oh my god, let me try that again. It's located right here in Atlanta, GA. And Vic Dribble for the podcast music. You can reach us at musicinmy shoes at gmail.com. Please like and follow the Music in My Shoes Facebook and Instagram pages. This is Jim Boge, and I hope you learned something new or remembered something old. We'll meet again on this same podcast channel. Until then, live life and keep the music playing.
