By Jen Chaney
Do we ever become bored with Clueless? Ugh, as if!
Acclaimed popular culture journalist Jen Chaney celebrates the 20th anniversary of the vintage film's liberate within the first ebook of its type, weaving jointly unique interviews with author and director Amy Heckerling; key forged contributors, together with Alicia Silverstone (Cher), Paul Rudd (Josh), Stacey sprint (Dionne), Donald Faison (Murray), Elisa Donovan (Amber), Wallace Shawn (Mr. Hall), Twink Caplan (Ms. Geist and affiliate producer); and different the most important Clueless avid gamers like gown dressmaker Mona may perhaps, casting director Marcia Ross, director of images invoice Pope, former Paramount chairwoman Sherry Lansing, and plenty of extra. forged and team additionally pay heartfelt tribute to the overdue Brittany Murphy, who lit up the reveal as Cher's protégée, Tai.
Chaney explores the effect of Jane Austen's Emma because the not likely framework for Heckerling's script, the rigorous casting technique (including the long run stars who didn't make the cut), the useful but fashion-forward cloth wardrobe, the original slang that drew from the earlier and coined new words for the long run, the sun-drenched soundtrack that set the tone, and—above all—the giant volume of labor, creativity, and craft that went into making Clueless glance so without difficulty shiny and glossy.
As If! illuminates why plaid skirts and knee socks won't ever exit of fashion, and why Clueless continues to be essentially the most loved comedies of all time.
Read Online or Download As If!: The Oral History of Clueless as Told by Amy Heckerling and the Cast and Crew PDF
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Extra info for As If!: The Oral History of Clueless as Told by Amy Heckerling and the Cast and Crew
The group was “discovered” at a New York City nightclub by Gordon Jenkins, the managing director of Decca Records, and between 1950 and 1954 they placed eleven records in the Top 40. It is difficult to gauge what impact the Weavers might have had on pop music had they been allowed to sustain their early success. ) Decca Records, unwilling to withstand the heat, dropped their contract, and the Weavers never again appeared on the pop music charts. a. Leadbelly, 1889–1949), was the most successful of their recordings, reaching the Number One position on the pop charts in 1950.
By the early 1950s these pop stars had been joined by a younger generation of vocalists, who specialized in sentimental ballads, novelty numbers—cheerful, disposable songs that often resembled advertising jingles—and crooner-style cover versions of country and western and rhythm & blues hits. These vocalists were promoted to the expanding teenage audience. The musicians’ union recording ban of 1942–44—which had banned instrumentalists from recording but did not apply to even the most musically gifted vocalists—encouraged a number of big-band singers to begin recording under their own names, sometimes with choral accompaniment.
It too is a strophic song with three verse-chorus strophes; see the accompanying listening chart. The fact that both of these songs share this basic form illustrates how useful and flexible a formal conception the strophic song with verses and a chorus can be. The listening chart for “Choo Choo Ch’ Boogie” is our first example of the fully detailed charts that will be presented regularly throughout this book to facilitate in-depth discussion of some particularly significant recordings. The reader is urged to refer to the chart to reinforce and supplement the discussion that follows, and also to use the chart as a visual aid when listening to the record.