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Wipe Out: When the BBC Kept Erasing Its Own History

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When Sue Malden started working as an assistant researcher for the British Broadcasting Corporation (BBC) in the early 1970s, she imagined the broadcaster’s 20-plus year history of television was tucked away somewhere on shelves—a towering video library of cultural history from the Queen’s 1953 coronation to hundreds of episodes of Doctor Who.

But as Malden began to familiarize herself with the spare inventory of past programming, the reality was much different. “What I found was that there were many gaps,” Malden tells Mental Floss. “A lot of things just weren’t there.”

It would take years, but when Malden eventually assumed the post of Television Archive Selector in 1979, she had educated herself on the BBC’s stern and unsentimental methods for dealing with the bulk of their content. Because shows weren’t often repeated, there was no long-term need to retain them. And because videotape was an expensive storage medium at the time, it was far more sensible to reuse cassettes rather than buy new ones.

The company kept a bulk-erasure machine on hand to systematically wipe out shows that were believed to have exhausted their usefulness. Reams of paperwork indicated a large chunk of their content was rubber-stamped into destruction using just three words: “no further interest.”

As Malden tried to corral the wastefulness, she decided to use Doctor Who as a research guide to track the steps of how the BBC went from filming a series to ordering its demise.

Out of 253 produced episodes of Doctor Who, the BBC had not a single original copy left.

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For much of the 1950s, television in the UK was viewed in much the same way as the radio programming it was beginning to replace: Live newscasts, teleplays, and other series were intended to be consumed in the moment. If viewers really liked something, then it would be “repeated” by reassembling the actors and performing it for a second time.

“Television meant being live, over, and done with,” says Richard Molesworth, a BBC historian and author of Wiped!, a detailed chronicle of how the channel discarded a large chunk of Doctor Who history. “When videotape came about in the late 1950s, it wasn’t seen as a means of preservation or as an archival format," he tells Mental Floss. "It was in case a program was to be repeated in a short period of time—days or weeks.”

The two-inch tape adopted by the broadcaster beginning in 1958 was perceived as a way of getting a program on the air by having completed and edited footage ready for transmission. Across departments, there was virtually no incentive to treat those tapes as part of a long-term storage approach. In fact, it was the opposite: Because tapes often came out of a show’s budget, wiping old episodes and reusing them saved money. Barely any episodes from the entire first season of The Avengers, for example, are believed to have survived; Z Cars, a popular cop drama, was also snuffed out.

The lone motivation for not disposing of content immediately was the potential for overseas sales, a lucrative enterprise that allowed the BBC to capitalize on its inventory in foreign markets. But once BBC Enterprises—the arm responsible for dealing with those markets—struck a 16mm print of a taped show (which guaranteed compatibility, as video formats differed) and sent the film to the buyer, there was no reason to retain the tape. By the time BBC 2 debuted in 1964, virtually doubling the amount of content being produced, the order to “wipe” shows by deleting them in the bulk-erasure unit reached an all-time high. Unlike the U.S., with its many fractured local affiliates, there weren’t multiple copies of shows to ensure their continued survival. If the BBC scrapped it, it was likely scrapped for good.

Producers, Molesworth says, tried to resist the extinguishing of their media. Dudley Moore and Peter Cook tried to pay out of pocket to make certain their series, Not Only... But Also, remained in existence. They were turned down. (Monty Python experienced a similar incident, fearing they’d be wiped, but Monty Python's Flying Circus was too pervasive in America for that to have happened.)

When tapes would begin to pile up in dressing rooms, corridors, and other areas, it became an untenable situation. “New productions would need tape, and no one would want to spend money on new tape,” Molesworth says. “Not when there was perfectly good tape sitting right there.”

When the BBC began issuing color television licenses to viewers in 1969—a fee that essentially amounted to a donation for programming—the problem grew malignant. There was now even less incentive to keep black-and-white programming for either local consumption or to sell abroad. And when series were sold off, buyers typically had to adhere to the BBC’s “burn or return” policy. If the film wasn’t returned after the contracted number of airings, it was to be incinerated, with a “certificate of destruction” returned to the UK.

While the practice would later be vilified as a kind of cultural vandalism, there was no malice on the part of employees. For most of the programming, talent contracts prohibited more than one or two airings; relying on public funds for support meant tight budgets. No one really considered the programs could have a life decades into the future. “Had they kept those tapes, and newspapers found out they were sitting on hundreds or thousands of hours of programs they couldn’t show, they’d be accused of wasting public money,” Dick Fiddy, a consultant to the British Film Institute (BFI), tells Mental Floss. “What they did was good housekeeping.”

By Molesworth’s estimate, 60 to 70 percent of all BBC programming produced between the mid-1950s and mid-1970s was deleted. It was an amazing number of casualties, but the bleeding would soon halt thanks to several factors.

Around 1975, control of managing tapes went from the Engineering Department to the BBC Film Library, which was soon renamed the BBC Film and Television Library. There, archivists were not motivated by budget to keep programs shelved. At the same time, newspaper articles began to point out that the BBC had been rather mercenary in their approach to archival material. As the VHS revolution was just starting and people with home recording units were able to preserve programming, they found it unsatisfactory that the broadcaster itself wasn’t retaining content.

Financially, the latter was beginning to make a lot more sense. Exports like Monty Python’s Flying Circus, sold to American public television affiliates, were becoming profitable, and actor’s equity had eased demands on payments for repeats. That, coupled with the lowered cost of storage and the increased revenue from selling color TV licenses to viewers, led to a paradigm shift. According to Malden, however, it took some time to convince employees.

“I remember going around to heads of production departments and explaining what we wanted to do, which was keep everything,” Malden says. “And sometimes I’d hear, ‘Well, OK, but this episode wasn’t a writer’s or actor’s best work.’ I’d have to say, ‘No, look, it’s all the output.'" The engineering department, once tasked with exploiting every inch of tape it could, looked at Malden’s approach with puzzlement. “They basically asked, ‘Why on Earth do you want to keep all of this?’”

Once Malden felt confident the current crop of programming wasn’t going to be obliterated, she began looking to see if the gaps in the archive could somehow be restored. “A lot of programming went out live in the 1950s and 1960s, so there was never any recording to lose,” she says. “It was better to look at an iconic series, see how many were broadcast, see how many exist, and what happened to the rest.”

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Doctor Who was an easy choice. Debuting in 1963, the low-budget series about a time-traveling alien who could regenerate to explain his repeated recasting had become a cultural institution that was still on the air. (And would remain so until 1989, at which point it took a 16-year break before resuming in its current incarnation.) Malden found just 57 episodes out of the 253 produced through that time scattered throughout the BBC's various departments. Some had even been earmarked for destruction when Malden was still in the process of staying their executions.

To try and restore the BBC’s past, Malden and other historians had a remarkable resource: the foreign territories where the BBC had sold off several programs. Some didn’t bother either returning or destroying the 16mm film reels they had been supplied with. In writing to these stations, Malden discovered episodes of Doctor Who and other material that had survived the intervening years as a discarded and forgotten canister in a storage room. In other instances, various BBC departments had retained Doctor Who episodes after they had been returned by buyers. By 1981, Malden wound up securing 116 of the 253 episodes.

The BBC, however, had no official staff devoted to repossessing content. That fell in some measure to Malden, who effectively managed to assemble a small group of volunteers when a 1981 magazine article publicized the large chunk of missing Doctor Who episodes. “I started getting lots of letters from fans, saying ‘There might be a copy here,’” she says. “That gave me a lot of leads to work with.”

At the same time, a Who fan named Ian Levine had approached the BBC looking to buy original copies of episodes for his own private collection. He was introduced to Malden, and together they found a number of crucial episodes throughout the 1980s.

In 1983, a Mormon Church in London was cleaning out its basement when several BBC film cans, including two episodes of Doctor Who, were discovered among the clutter. In 1985, Levine found several episodes idling in a Nigerian television station. Two more episodes were returned to the BBC after being found at a yard sale. On a few occasions, Malden was able to retrieve episodes that had been seized by BBC employees simply because they were fans of the show.

Eventually, the idea of writing or faxing foreign TV stations to find episodes slowed to diminishing returns. (An Iranian station, asked to look for content, responded with incredulity. According to Wiped!, they wrote back asking, “In the name of Allah, what are you talking about?”) That paved the way for television archaeologists to try to physically locate missing prints.

A company called Kaleidoscope worked with both the BBC and the BFI to scout yard sales and private collections for material. In 2011, a footage hunter named Philip Morris located nine missing episodes of Doctor Who in Jos, Nigeria, where employees had ignored instructions to burn them. His company, Television International Enterprises Archives, seeks to “repatriate” old British television from foreign sources.

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Although fans of Doctor Who have virtually guaranteed that the most zealous searches will be reserved for the remaining 97 episodes of the series that are still missing, the BBC doesn’t play favorites when it comes to accepting lost programs. Dozens of old television plays, including one titled Colombe featuring Sean Connery, were recovered from the Library of Congress in 2011 because they had been acquired for public broadcast in the States; Fiddy organizes a semiannual event called "Missing Believed Wiped," which celebrates recovered material of every stripe. Recent screenings have included a film directed by a young Ridley Scott, a previously thought-to-be-lost episode from the first season of The Avengers, and footage of Woody Allen boxing a kangaroo. A 1967 show titled At Last the 1948 Show featuring Graham Chapman and John Cleese was discovered in 2013 and is considered a precursor to Monty Python; it went unseen for nearly 50 years. Fiddy located them from a producer who had filmed the television screen with a 16mm camera.

“It’s sort of a return to the way television used to be viewed,” Fiddy says of his media festival. “The only thing that links the material together is that it’s been rediscovered. People will stay and watch things they wouldn’t otherwise.”

How much more undiscovered material is out there is open to debate. Malden and Molesworth believe that overseas stations have probably been exhausted for material, and enough press has been devoted to the search for Doctor Who episodes over the decades that any private collectors have likely already come forward. But Morris thinks there’s more to be unearthed in the Middle East and Africa; Fiddy continues to have enough material for his screenings, with bits and pieces of the BBC’s history rematerializing all the time.

“We want to find things for cultural value, for what it tells us about the past,” he says. “The more witnesses you’ve got, the more accurate you can be.” Fiddy’s holy grail of sorts remains Madhouse on Castle Street, a 1963 film starring Bob Dylan.

Today, it’s inconceivable HBO would scrap a Game of Thrones episode after two airings. But 50 years ago, television was simply a diversion that wasn’t supposed to endure. “Television is such an important part of reflecting our society,” Malden says. “I don’t think we should ever give up looking.”

Additional Sources: Wiped! Doctor Who’s Missing Episodes

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10 Witty Facts About The Marx Brothers
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Talented as individuals and magnificent as a team, the Marx Brothers conquered every medium from the vaudeville stage to the silver screen. Today, we’re tipping our hats (and tooting our horns) to Groucho, Harpo, Chico, Zeppo, and Gummo—on the 50th anniversary of Groucho's passing.

1. A RUNAWAY MULE INSPIRED THEM TO TAKE A STAB AT COMEDY.

Julius, Milton, and Arthur Marx originally aspired to be professional singers. In 1907, the boys joined a group called “The Three Nightingales.” Managed by their mother, Minnie, the ensemble performed covers of popular songs in theaters all over the country. As Nightingales, the brothers enjoyed some moderate success, but they might never have found their true calling if it weren’t for an unruly equid. During a 1907 gig at the Nacogdoches Opera House in East Texas, someone interrupted the performance by barging in and shouting “Mule’s loose!” Immediately, the crowd raced out to watch the newly-liberated animal. Back inside, Julius seethed. Furious at having lost the spotlight, he skewered his audience upon their return. “The jackass is the finest flower of Tex-ass!” he shouted, among many other ad-libbed jabs. Rather than boo, the patrons roared with laughter. Word of his wit soon spread and demand for these Marx brothers grew.

2. THEY RECEIVED THEIR STAGE NAMES DURING A POKER GAME.

In May of 1914, the five Marxes were playing cards with standup comedian Art Fisher. Inspired by a popular comic strip character known as “Sherlocko the Monk,” he decided that the boys could use some new nicknames. Leonard’s was a no-brainer. Given his girl-crazy, “chick-chasing” lifestyle, Fisher dubbed him “Chicko” (later, this was shortened to “Chico”). Arthur loved playing the harp and thus became “Harpo.” An affinity for soft gumshoes earned Milton the alias “Gummo.” Finally, Julius was both cynical and often seen wearing a “grouch bag”—wherein he’d store small objects like marbles and candy—around his neck. Thus, “Groucho” was born. For the record, nobody knows how Herbert Marx came to be known as “Zeppo.”

3. GROUCHO WORE HIS TRADEMARK GREASEPAINT MUSTACHE BECAUSE HE HATED MORE REALISTIC MODELS.

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Phony, glue-on facial hair can be a pain to remove and reapply, so Groucho would simply paint a ‘stache and some exaggerated eyebrows onto his face. However, the mustache he later rocked as the host of his famous quiz show You Bet Your Life was 100 percent real.

4. HARPO WAS A SELF-TAUGHT HARPIST.

Without any formal training (or the ability to read sheet music), the second-oldest Marx brother developed a unique style that he never stopped improving upon. “Dad really loved playing the harp, and he did it constantly,” his son, Bill Marx, wrote. “Maybe the first multi-tasker ever, he even had a harp in the bathroom so he could play when he sat on the toilet!”

5. THE VERY FIRST MARX BROTHERS MOVIE WAS NEVER RELEASED.

Financed by Groucho, Chico, Harpo, Zeppo, and a handful of other investors, Humor Risk was filmed in 1921. Accounts differ, but most scholars agree that the silent picture—which would have served as the family’s cinematic debut—never saw completion. Despite this, an early screening of the work-in-progress was reportedly held in the Bronx. When Humor Risk failed to impress there, production halted. By Marx Brothers standards, it would’ve been an unusual flick, with Harpo playing a heroic detective opposite a villainous Groucho character.

6. GUMMO AND ZEPPO BECAME TALENT AGENTS.

World War I forced Gummo to quit the stage. Following his return, the veteran decided that performing was no longer for him and instead started a raincoat business. Zeppo—the youngest brother—then assumed Gummo’s role as the troupe’s straight-talking foil. A brilliant businessman, Zeppo eventually break away to found the talent agency Zeppo Marx Inc., which grew into Hollywood’s third-largest, representing superstars like Clark Gable, Lucille Ball, and—of course—the other three Marx Brothers. Gummo, who joined the company in 1935, was charged with handling Groucho, Harpo, and Chico’s needs.

7. CHICO ONCE LAUNCHED A BIG BAND GROUP.

Chico took advantage of an extended break between Marx brothers movies to realize a lifelong dream. A few months before The Big Store hit cinemas in 1941, he co-founded the Chico Marx Orchestra: a swinging jazz band that lasted until July of 1943. Short-lived as the group was, however, it still managed to recruit some amazing talent—including singer/composer Mel Tormé, who would go on to help write the “The Christmas Song (Chestnuts Roasting on an Open Fire)” in 1945.

8. THEY TESTED OUT NEW MATERIAL FOR A NIGHT AT THE OPERA IN FRONT OF LIVE AUDIENCES.

With the script still being drafted, MGM made the inspired choice to let the brothers perform key scenes in such places as Seattle, Salt Lake City, and San Francisco. Once a given joke was made, the Marxes meticulously timed the ensuing laughter, which let them know exactly how much silence to leave after repeating the gag on film. According to Harpo, this had the added benefit of shortening A Night at the Opera’s production period. “We didn’t have to rehearse,” he explained. “[We just] got onto the set and let the cameras roll.”

9. GROUCHO TEMPORARILY HOSTED THE TONIGHT SHOW.

Jack Paar bid the job farewell on March 29, 1962. Months before their star’s departure, NBC offered Paar’s Tonight Show seat to Groucho, who had established himself as a razor-sharp, well-liked host during You Bet Your Life’s 14-year run. Though Marx turned the network down, he later served as a guest host for two weeks while Johnny Carson prepared to take over the gig. When Carson finally made his Tonight Show debut on October 1, it was Groucho who introduced him.

10. SPY MAGAZINE USED A MARX BROTHERS MOVIE TO PRANK U.S. CONGRESSMEN.

Duck Soup takes place in Freedonia, a fictional country over which the eccentric Rufus T. Firefly (Groucho) presides. In 1993, 60 years after the movie’s release, this imaginary nation made headlines by embarrassing some real-life politicians. Staffers from Spy got in touch with around 20 freshmen in the House of Representatives, asking some variation on the question “Do you approve of what we’re doing to stop ethnic cleansing in Freedonia?” A few lawmakers took the bait. Representative Corrine Brown (D-Florida) professed to approve of America’s presence in Freedonia, saying “I think all of those situations are very, very sad, and I just think we need to take action to assist the people.” Across the aisle, Steve Buyer (R-Indiana) concurred. “Yeah,” he said, “it’s a different situation than the Middle East.”

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17 Electric Facts About MTV Unplugged
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Michael Stipe of R.E.M. goes Unplugged.
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Making its debut in 1989, MTV Unplugged—in which famous musicians perform stripped-down arrangements of their biggest hits—was a hit for both the cable network and the music industry, particularly in the early- to mid-'90s. Though it lost its regular time slot in 1999, in the near-20 years since, a handful of artists have popped in for brief revivals. But now it looks as if Unplugged is ready for a reboot; MTV has announced that the series will be back beginning on September 8, 2017, with Shawn Mendes as its first guest. In the meantime, here's a look behind the scenes of the music series that became a phenomenon.

1. OPINIONS VARY ON WHO CAME UP WITH THE IDEA.

Singer/songwriter Jules Shear has said that he came up with the concept for MTV Unplugged to promote his acoustic album, The Third Party. In 1992, The New York Times wrote that Shear was inspired by Jon Bon Jovi and Richie Sambora's two-song acoustic set at the 1989 MTV Video Music Awards.

That's all well and good, but producers Jim Burns and Bob Small claim they got the idea for MTV Unplugged after Bruce Springsteen treated the two—and the thousands of other fans at one of his concerts—to a final encore featuring just himself and his acoustic guitar. (Springsteen would find his way onto Unplugged in 1992.)

Executive producer Joel Gallen has referred to Unplugged as his "baby" as well and, like Shear, was inspired by Bon Jovi and Sambora's VMA set, which he called a "jumping off point." In I Want My MTV: The Uncensored Story of the Music Video Revolution, Small said: “Please do not credit Bon Jovi for creating Unplugged. Jon Bon Jovi thinks he was the inspiration for it. He wouldn’t even do the f***ing show until almost 20 years later.”

2. BOTH HBO AND PBS SAID NO.

HBO passed on Unplugged when Shear proposed the concept to the pay channel. Burns and Small pitched the series to PBS after MTV initially said no. PBS simply echoed MTV and HBO. It was only when Burns and Small ally Judy McGrath got a promotion at MTV that a pilot got a greenlight.

3. IT WAS A CHEAP PILOT TO SHOOT.

Bob Small said he had just four hours to set up for the Unplugged pilot, with another four hours to film it—and all on a budget of $18,000. "I couldn't get money to hire a director," Small said. "They said, 'You direct it.'"

4. THERE WAS A HOST FOR THE FIRST 13 EPISODES.

None other than Jules Shear was the undisputed master of ceremonies for the first season. He also joined in on some songs.

5. THE FIRST GUESTS DIDN'T QUITE GRASP THE CONCEPT OF UNPLUGGED.

Glenn Tilbrook and Chris Difford from Squeeze were the stars of the first episode, which aired on November 26, 1989. But they were unprepared. "Chris and Glenn showed up for rehearsal with electric guitars," Alex Coletti, who would end up producing the show through 2001, recalled. "I said: 'Very funny, guys. Where are the acoustics? It’s Unplugged.' They looked at each other and went, 'Riiight… Make a phone call, quick!'"

6. PRODUCERS SCRAMBLED TO GIVE JOE WALSH ACTUAL FRIENDS.

"The fifth episode was billed as Joe Walsh and Friends, and Joe showed up with only one friend—Ricky, his bass player," Coletti remembered. "We thought it meant his famous friends, but apparently that got lost in translation." Walsh had been a member of The Eagles, who had an infamous falling-out, but Walsh's claim of buddies gave MTV employees false hope. Producer Bruce Leddy found Dr. John recording at a neighboring studio and convinced him to come on and be Walsh's "friend."

7. DON HENLEY WAS NOT HAPPY THAT WALSH PLAYED "DESPERADO."

Walsh's former Eagles bandmate wrote "Desperado," as well as a three-page fax explaining to MTV that he didn't want Walsh to play it and he was refusing permission to air the performance. It was after the fax that the network invited Henley to come on the show himself to perform it. Henley was the first artist to get an entire half-hour on his own as the only artist, which quickly became the status quo for Unplugged. In 1994, when The Eagles reunited, they appeared on an MTV Unplugged special.

8. LL COOL J HAD NEVER WORKED WITH A LIVE BAND BEFORE.

The first Unplugged featuring rap artists took place in 1991. Pop's Cool Love backed LL Cool J, MC Lyte, De La Soul, and A Tribe Called Quest. “[It’s like] you drink milk for 10 years and then [you have to] drink fruit punch,” Quest's Q-Tip said about performing with the band. “It’s not that the fruit is bad, but you have to get used to it.”

But LL seemed able to adapt. "We rehearsed the night before and LL Cool J had never worked with a live band," Coletti said. "Before long, he was calling the shots like he'd been doing it his whole life."

9. LL COOL J KNOWS YOU SAW HIS DEODORANT.

"People have teased me about the deodorant for years, but I love it," he said. "It was raw! It was nasty! At least you know I wasn’t stinking.”

10. PAUL MCCARTNEY WAS THE FIRST ARTIST TO OFFICIALLY RELEASE HIS UNPLUGGED SET.

Before Paul McCartney, no other Unplugged artist body had thought to release their acoustic set as an album. But after he performed in 1991, the former Beatle was worried about it getting out to the masses illegally. “I figured that as Unplugged would be screened around the world there was every chance that some bright spark would tape the show and turn it into a bootleg, so we decided to bootleg the show ourselves," he admitted. "We heard the tapes in the car driving back. By the time we got home, we’d decided we’d got an album—albeit one of the fastest I’ve ever made.” He even titled the live performance collection Unplugged (The Official Bootleg).

11. ERIC CLAPTON WAS HESITANT TO RELEASE HIS SHOW AS AN ALBUM.

"Slowhand" performed to acclaim in 1992, but he initially didn't think it was good enough to be released officially as a CD. So naturally, his live album Unplugged won the Grammy for Album of the Year. His "Tears in Heaven" performance in particular won Song and Record of the Year. Two years later, Tony Bennett followed suit, winning the 1994 Album of the Year prize for his time on the show.

12. NEIL YOUNG WALKED OUT ON HIMSELF.

Neil Young's Unplugged was supposed to have been taped at the Ed Sullivan Theater in New York on December 12, 1992. Instead, on that night—at that venue—the audience saw something they would probably never forget: Neil Young walking out the door after numerous mistakes. The "stunned" crew members managed to get him to come back to try again that night. Young opted to junk the performance entirely, and tried again two months later—this time with a band, and with much more success.

13. TORI AMOS WALKED OUT, TOO.

Amos was thrown off and "couldn't harness the energy." But unlike Young, she was able to walk back onstage, perform, and not have to try again with another set on a different night. As the singer/songwriter remembered it, she and her manager paced "beneath the MTV thing" backstage thinking about the problem. "Then my [lighting director] came down and said, 'Something just doesn't feel right. I can’t put my finger on it,'" Amos told Worstgig.com. "For 700 shows over the five years (prior to that), I'd played with the lights down. So all the lights were up to catch the audience and I felt like somebody was watching me take a shower. So they dimmed the lights, I felt better. By that point because I'd made the choice to stop it and make some changes, I felt like I began again. And I turned the whole show around."

14. ALEX COLETTI FOUGHT TO CUT "THE MAN WHO SOLD THE WORLD" FROM NIRVANA'S EPISODE.

"Maybe I shouldn't give this secret away, but I built a fake box out in front of the amp to make it look like a monitor wedge," Coletti admitted to Guitar World in 1995. "It's an acoustic guitar, but he's obviously going through an amp," he added, talking about the now iconic David Bowie cover. "I actually fought pretty hard to leave that song out [of the final edit of the show], because I felt it wasn't as genuine as the rest of the songs. But I'm a huge Bowie fan, so I couldn't fight too hard against the song."

15. DAVE GROHL WAS ALMOST UNINVITED TO NIRVANA'S SHOW.

The Nirvana drummer remembered that it was a minor miracle that the band's Unplugged performance went so well. “That show was supposed to be a disaster,” Grohl said. “We hadn’t rehearsed. We weren’t used to playing acoustic. We did a few rehearsals and they were terrible. Everyone thought it was horrible. Even the people from MTV thought it was horrible. Then we sat down and the cameras started rolling and something clicked. It became one of the band’s most memorable performances.”

As Coletti told it, Kurt Cobain was thinking of just replacing Grohl behind the kit, or maybe not using a drummer at all. “What I didn’t know was up until the day [of the Unplugged performance], there was talk of Dave [Grohl] not playing at all in the show,” the producer revealed in 2014. “Kurt wasn’t happy with the way rehearsals were going; he didn’t like the way Dave sounded playing drums with sticks."

But Grohl turned up the day of filming, and Coletti gifted him some brushes and sizzle sticks to give his drumming a softer sound. "I was afraid Dave would just roll his eyes, like, 'Oh great, the a**hole from MTV is trying to be my friend,'" the producer remembered thinking. "But instead he opened the package and said, 'Cool, I've never had brushes before. I've never even tried using them.'" The album Unplugged in New York won the Grammy for Best Alternative Music Album in 1996. It was the band's lone Grammy win.

16. YES, THEY TRIED TO GET ROBERT PLANT AND JIMMY PAGE TO PLAY "STAIRWAY TO HEAVEN."

The Led Zeppelin bandmates reunited in 1994 for the Unplugged special: No Quarter: Robert Plant and Jimmy Page Unledded, which at the time was the highest-rated episode of the series ever. MTV suggested they film it in Queens, New York. Plant suggested Morocco and Wales because it was where he wrote "Kashmir" and "Down by the Seaside," respectively. Network executives explicitly requested "Stairway" but were shot down. "I think we're in a disposable world and 'Stairway to Heaven' is one of the things that hasn't quite been thrown away yet," Plant said in 1994. "I think radio stations should be asked not to play it for 10 years, just to leave it alone for a bit so we can tell whether it's any good or not."

17. LIAM GALLAGHER HECKLED HIS BROTHER.

Oasis lead vocalist Liam Gallagher backed out of the Royal Festival Hall gig in London at the last minute due to a "sore throat," so songwriter/guitarist/brother Noel took over the vocal duties. Noel would later disclose that Liam in fact appeared an hour before showtime "sh*tfaced," and when he tried to sing it sounded "f**king dreadful." Liam watched the performance from the balcony and at times jeered the band. Noel told him to shut up. Coletti thought it was all for the best. "There's something when the songwriter himself sings it. Maybe he's a little more connected to the song."

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