Teams
Forum List
Toggle sidebar

On That Note: Where Were We in '73

MeanDean

MeanDean

Well-Known Member
Jan 5, 2009
13,112
17,645
113
Blue Grass IA-Jensen Beach FL
This week OTN takes a slight detour from the ordinary.

This month marks the 50th anniversary of the release of the film “American Graffiti” (released August 1973). The other guys at OTN, knowing my affinity for the movie and its effect on my musical exploration, encouraged me to take a detour this week to this classic film and its soundtrack.

Some of you may consider music of the period too old, or maybe you aren’t familiar with the movie itself … that’s OK, we understand.

We are looking for your favorite songs/scenes from the film. We also accept favorite covers/remakes. Also feel free to post any specific memories you have of viewings or perceptions of the film.

A list of the songs from the film will be in a follow-up post.

The OTN team consists of @cyclones500, @CycloneRulzzz and me.

Last week's OTN was Put Me In the Movies. It can be found here:

https://cyclonefanatic.com/forum/threads/on-that-note-put-me-in-the-movies.279775/
 
  • Like
Reactions: CycloneRulzzz and cyclones500
Rock Around the Clock - Bill Haley and His Comets
Sixteen Candles - The Crests
Gee - The Crows (not on soundtrack album)
Runaway - Del Shannon
Why Do Fools Fall In Love - Frankie Lymon and the Teenagers
That'll Be the Day - The Crickets
Fannie Mae - Buster Brown
At The Hop - Flash Cadillac & the Continental Kids
She's So Fine - Flash Cadillac & the Continental Kids
The Stroll - The Diamonds
Surfin' Safari - The Beach Boys
(He's) The Great Imposter - The Fleetwoods
Almost Grown - Chuck Berry
Smoke Gets In Your Eyes - The Platters
Louie, Louie - Flash Cadillac & the Continental Kids (not on soundtrack album)
Little Darlin' - The Diamonds
Peppermint Twist - Joey Dee & the Starlighters
Barbara Ann - The Regents
Book of Love - The Monotones
Maybe Baby - The Crickets
Ya Ya - Lee Dorsey
The Great Pretender - The Platters
Ain't That A Shame - Fats Domino
Johnny B. Goode - Chuck Berry
I Only Have Eyes For You - The Flamingos
Get A Job - The Silhouettes
To the Aisle - The Five Satins
Do You Wanna Dance - Bobby Freeman
Party Doll - Buddy Knox
Come Go With Me - The Del Vikings
You're Sixteen - Johnny Burnette
Love Potion No. 9 - The Clovers
Since I Don't Have You - Skyliners
Chantilly Lace - The Big Bopper
Teen Angel - Mark Dinning
Crying In the Chapel - The Orioles
A Thousand Miles Away - The Heartbeats
Heart And Soul - The Cleftones
Green Onions - Booker T. & the M.G.s
Only You - The Platters
Goodnite Sweetheart, Goodnite - The Spaniels
All Summer Long - Beach Boys
 
  • Wow
  • Like
Reactions: CycloneRulzzz and cyclones500
Here are a few basic facts, mixed in with my opinions, should you not want to read the more in-depth articles linked.

The film was very low budget ($777,0000) and included no established stars (Ron Howard was on the road to forgotten child actor 5 years after the end of Andy Griffith). It is one of the most profitable films ever (earnings to investment) to this day. Many of the unknowns went on to great fame - chief among them Harrison Ford, Richard Dreyfuss, Cindy Williams, Mackenzie Phillips, and Suzanne Sommers.

In many ways it pioneered some film technics now common. The use of music as part of the scenes (diegetic). Meaning: not just heard by the viewer, but also is obviously heard by the characters in the scenes. $90,000 of the film's budget was for the song rights. No other film specific soundtrack music was included (excluding one song performed by Herbie and the Heartbeats, played by Flash Cadillac and the Continental Kids, She's So Fine.)

The frequent edits, jumping settings and characters to others and back again, was considered jolting to some viewers - as it told the story of their interwoven events of the night. Finally they're brought all together in the drag race scene, the emotional climax of the film. Most films had few of those jumps - and were often introduced with dialog to make sure the viewer knew this was a completely different scene and setting. This kind of episodic story telling is so common now it is rarely noted. (It was a signature story telling method of the Seinfeld series just a decade and a half later.)

Lastly, the Coming-of-Age genre can largely trace its roots to American Graffiti. Even as the film starts with Bill Haley's Rock Around the Clock a new viewer is tempted to dismiss this as a tired cliche to indicate a scene's time-setting. This was the film that invented it, with its effectiveness so on target the cliche developed from it.
 
  • Winner
  • Like
Reactions: matclone, cyclones500 and August
How many times have I seen it? Maybe 90? I've owned the VHS, DVD and now the Blu-ray. I saw it probably 6 times in the theater (and yes, will see it again in theater again Aug 30th for an anniversary showing). Plus several times on (weirdly!) edited-for-television broadcasts and a few on pay channels over the years. My brother and I used to run lines quite often when life events seemed to call for it.

I attribute my decision to attend ISU to the film (along with having a cousin there and an influential couple in our church). The 'what happened to the characters after the film text card' often made me think about how seemingly minor life decisions can completely change the rest of your life. I decided to make a non-random life decision and thus deciding, while working full time at Hy-Vee, to go to college (beginning 2 years after I graduated high school.)

My initial purchase of the soundtrack was an 8-track. I was initially very good at clicking to different channels in my car to only play the songs I liked. Often being busy I would miss the opportunity to click to another channel, thus eventually I grew to like them all. The soundtrack was the sole reason I ever developed interest in pre-1964 music. One of my earliest record collecting efforts was to own copies of every song from the soundtrack separately from the soundtrack itself.
 
  • Friendly
  • Like
Reactions: Cmonwhatarewedoinghereman and cyclones500
This is the spine of pop music today. Tight lyrics, melodies and very in-your-face presentation.

Chuck Berry is a poet-laureate. Elvis, Big Bopper and Buddy Holley let it sink in, marinate, and re-emerge with their own visions.

The Brit's listened very closely,.....then The Ed Sullivan Show happened with 4 guys from Liverpool.

Nothing was ever going to be the same.
 
  • Like
Reactions: aauummm, cyclones500 and MeanDean
A Milner-Carol scene I'm choosing for music/generational/cultural symbolism. Marks a turning point in transition from ’50s to ‘60s, with “Surfin’ Safari” as the backdrop.

John: I don’t like that surfin’ s***t” …. Rock ’n’ roll has been goin’ downhill ever since Buddy Holly died.
Carol: Don’t you think The Beach Boys are boss?
John: You would, you grungy little twerp.

 
Last edited:
  • Winner
Reactions: MeanDean
Wow had no idea this many songs were in this movie. It's nearly a whole list of songs I grew to love because it's what my parents listened to. Bolded are ones I particularly enjoy.



MeanDean said:
Rock Around the Clock - Bill Haley and His Comets
Sixteen Candles - The Crests
Gee - The Crows (not on soundtrack album)
Runaway - Del Shannon
Why Do Fools Fall In Love - Frankie Lymon and the Teenagers
That'll Be the Day - The Crickets
Fannie Mae - Buster Brown
At The Hop - Flash Cadillac & the Continental Kids
She's So Fine - Flash Cadillac & the Continental Kids
The Stroll - The Diamonds
Surfin' Safari - The Beach Boys
(He's) The Great Imposter - The Fleetwoods
Almost Grown - Chuck Berry
Smoke Gets In Your Eyes - The Platters
Louie, Louie - Flash Cadillac & the Continental Kids (not on soundtrack album)
Little Darlin' - The Diamonds
Peppermint Twist - Joey Dee & the Starlighters
Barbara Ann - The Regents
Book of Love - The Monotones
Maybe Baby - The Crickets
Ya Ya - Lee Dorsey
The Great Pretender - The Platters
Ain't That A Shame - Fats Domino
Johnny B. Goode - Chuck Berry
I Only Have Eyes For You - The Flamingos
Get A Job - The Silhouettes
To the Aisle - The Five Satins
Do You Wanna Dance - Bobby Freeman
Party Doll - Buddy Knox
Come Go With Me - The Del Vikings
You're Sixteen - Johnny Burnette
Love Potion No. 9 - The Clovers
Since I Don't Have You - Skyliners
Chantilly Lace - The Big Bopper
Teen Angel - Mark Dinning
Crying In the Chapel - The Orioles
A Thousand Miles Away - The Heartbeats
Heart And Soul - The Cleftones
Green Onions - Booker T. & the M.G.s
Only You - The Platters
Goodnite Sweetheart, Goodnite - The Spaniels
All Summer Long - Beach Boys
Click to expand...
 
  • Like
Reactions: cyclones500 and MeanDean
MeanDean said:
Here are a few basic facts, mixed in with my opinions, should you not want to read the more in-depth articles linked.

The film was very low budget ($777,0000) and included no established stars (Ron Howard was on the road to forgotten child actor 5 years after the end of Andy Griffith). It is one of the most profitable films ever (earnings to investment) to this day. Many of the unknowns went on to great fame - chief among them Harrison Ford, Richard Dreyfuss, Cindy Williams, Mackenzie Phillips, and Suzanne Sommers.

In many ways it pioneered some film technics now common. The use of music as part of the scenes (diegetic). Meaning: not just heard by the viewer, but also is obviously heard by the characters in the scenes. $90,000 of the film's budget was for the song rights. No other film specific soundtrack music was included (excluding one song performed by Herbie and the Heartbeats, played by Flash Cadillac and the Continental Kids, She's So Fine.)

The frequent edits, jumping settings and characters to others and back again, was considered jolting to some viewers - as it told the story of their interwoven events of the night. Finally they're brought all together in the drag race scene, the emotional climax of the film. Most films had few of those jumps - and were often introduced with dialog to make sure the viewer knew this was a completely different scene and setting. This kind of episodic story telling is so common now it is rarely noted. (It was a signature story telling method of the Seinfeld series just a decade and a half later.)

Lastly, the Coming-of-Age genre can largely trace its roots to American Graffiti. Even as the film starts with Bill Haley's Rock Around the Clock a new viewer is tempted to dismiss this as a tired cliche to indicate a scene's time-setting. This was the film that invented it, with its effectiveness so on target the cliche developed from it.
Click to expand...

Outstanding details/observations.

Also influential in structure/template for "Dazed and Confused," one day/one night look-back at high school (along with appropriate music of the period).
 
  • Like
Reactions: MeanDean
Another favorite clip from the movie, music only in background. I can’t seem to find the complete scene. (Also there's more context to his motivation, beyond this).

"Yeah ... let me have a 3 Musketeers, and a ball-point pen, one of those combs there, a pint of Old Harper ..."



 
  • Like
  • Winner
Reactions: CycloneRulzzz and MeanDean
cyclones500 said:
Another favorite clip from the movie, music only in background. I can’t seem to find the complete scene. (Also there's more context to his motivation, beyond this).

"Yeah ... let me have a 3 Musketeers, and a ball-point pen, one of those combs there, a pint of Old Harper ..."



Click to expand...

One of my favorite dialogs is right before the first scene you posted. Where Toad is talking to the old wino that sneaked out the back door.

He tells the wino he lost his ID.... um, in a flood.
The wino says, "I lost my wife too. Her name wasn't Idy, and it wasn't in a flood..."
 
  • Like
Reactions: cyclones500
Last week I said Are the Stars Out Tonight (or I Only Have Eyes For You) was my fave from this movie. But there are some runner ups. Green Onions is just right for the rising of the sun/pending drag race scene. And I decided years ago that All Summer Long had to be the perfect ending.
 
  • Like
Reactions: MeanDean and cyclones500
These two are basically a continuation of a theme. And it's kind of the same artist regardless of the name on the label. Well, they were on the same artist collection CD I bought, so to me they're the same. Kind of like The Crickets and Buddy Holly are the same.

Wonderful doo-wop stuff.

You're A Thousand Miles Away
and
Daddy's Home.



 
MeanDean said:
Here are a few basic facts, mixed in with my opinions, should you not want to read the more in-depth articles linked.

The film was very low budget ($777,0000) and included no established stars (Ron Howard was on the road to forgotten child actor 5 years after the end of Andy Griffith). It is one of the most profitable films ever (earnings to investment) to this day. Many of the unknowns went on to great fame - chief among them Harrison Ford, Richard Dreyfuss, Cindy Williams, Mackenzie Phillips, and Suzanne Sommers.

In many ways it pioneered some film technics now common. The use of music as part of the scenes (diegetic). Meaning: not just heard by the viewer, but also is obviously heard by the characters in the scenes. $90,000 of the film's budget was for the song rights. No other film specific soundtrack music was included (excluding one song performed by Herbie and the Heartbeats, played by Flash Cadillac and the Continental Kids, She's So Fine.)

The frequent edits, jumping settings and characters to others and back again, was considered jolting to some viewers - as it told the story of their interwoven events of the night. Finally they're brought all together in the drag race scene, the emotional climax of the film. Most films had few of those jumps - and were often introduced with dialog to make sure the viewer knew this was a completely different scene and setting. This kind of episodic story telling is so common now it is rarely noted. (It was a signature story telling method of the Seinfeld series just a decade and a half later.)

Lastly, the Coming-of-Age genre can largely trace its roots to American Graffiti. Even as the film starts with Bill Haley's Rock Around the Clock a new viewer is tempted to dismiss this as a tired cliche to indicate a scene's time-setting. This was the film that invented it, with its effectiveness so on target the cliche developed from it.
Click to expand...
I have to mention this. I always considered this to be the first coming-of-age film.

About 10 years ago I watched "From Here to Eternity." That, to me, was definitely a coming-of-age movie for the WWII generation.
 
MeanDean said:
This week OTN takes a slight detour from the ordinary.

This month marks the 50th anniversary of the release of the film “American Graffiti” (released August 1973). Some Links:
Click to expand...
MeanDean said:
https://en.wikipedia.org/wiki/American_Graffiti
Click to expand...
MeanDean said:
Here are a few basic facts,
Click to expand...
MeanDean said:
I attribute my decision to attend ISU to the film (along with having a cousin there and an influential couple in our church).
Click to expand...
That about covers it!

I'll see ya next week...




Just kidding, MeanDean!! Great topic and research! I might have to watch the movie again now!!! It's been a while!
 
  • Like
Reactions: MeanDean
You must log in or register to reply here.

Help Support Us

Become a patron
Top Bottom
Back