7 Facts About Garth Brooks

Cooper Neill/Getty Images for dcp
Cooper Neill/Getty Images for dcp

Everyone has a friend who claims that he or she hates country music but loves Garth Brooks. With legendary live performances and songs that boast sing-in-the-shower catchiness, Brooks has captivated fans to the tune of more than 148 million records sold, making him the top-selling solo artist in U.S. history (sorry, Elvis).

Since bursting onto the scene almost 30 years ago with his self-titled 1989 debut album, Troyal Garth Brooks has slowed down a little in more recent years. A little. And while he now lists eating and napping as two of his favorite hobbies and claims he uses his guitar more to “hide my gut” than anything else, make no mistake about it: Brooks is far from done. Here are seven things you might not have known about the iconic musician, who turns 56 years old today.

1. HE MET HIS FIRST WIFE WHEN HE THREW HER OUT OF A BAR.

While working as a bouncer during his senior year of college, Brooks was required to toss an unruly woman. Little did he know that that woman, Sandy Mahl, would become his wife just a couple of years later.

“My job was to escort people out that caused disturbances,” Brooks recalled. “She beat me about nine times close to hell that night, too. I finally got her outside and I just kept noticing how cute she was … I asked her out. She told me to drop dead.”

The couple married in 1986 and divorced 15 years later. In 2005, Brooks married fellow country superstar Trisha Yearwood.

2. HE SANG WITH KISS.

It’s no secret that Brooks is a huge rock ‘n’ roll fan. In fact, his live shows during the 1990s were heavily influenced by acts like Queen and KISS. Fortunately for Brooks, KISS decided to produce a tribute album, Kiss My Ass: Classic Kiss Regrooved, in 1994 and asked him to contribute. Brooks played with the band and sang lead vocals on the track “Hard Luck Woman.”

Brooks later sang the tune on The Tonight Show with Jay Leno (which you can see in the clip above).

3. KEEPING UP HIS CHRIS GAINES ALTER EGO WAS TOO MUCH WORK.

In 1999 the album “Garth Brooks in… The Life of Chris Gaines” was released in an attempt to generate enthusiasm for a potential movie about Brooks’s fictional alter ego, Chris Gaines. Little enthusiasm occurred, however, and the movie was shelved. But Brooks has no regrets about the Chris Gaines experiment and would not be averse to revisiting it if it weren’t for the problem of weight and long hours.

“I love the music, and that’s what it’s all about,” Brooks said earlier this year. “Would I love to do a second one? Sure. Would I ever drop that much weight again? I don’t think I could.”

Brooks believes that his appearance was partly to blame for the failure of Chris Gaines:

“There is a ton of Garth in Chris, once you start to get familiar with Chris’s music. But one of the things that still will never settle easy with a lot of people, including my dad still doesn’t get it, is how this kind of face, that looks like this and has for a decade, sings a song that goes [sings in falsetto] ‘There’s no more waiting.’ It’s very strange to see that coming out of this face.”

“I got the sh*t kicked out of me for doing that,” Brooks told Larry King of his time as Chris Gaines. “That was fun to do though. Those guys work too hard for me. The guys in the pop world. We were up ‘til three or four every morning. Country music we’re at home eating dinner at six.”

4. HE TURNED DOWN A ROLE IN SAVING PRIVATE RYAN.

At least allegedly. In 2013, a former business partner filed a lawsuit against Brooks in which she claimed, among other things, that Brooks was approached to play the role of Private Jackson (the part that eventually went to Barry Pepper) in Saving Private Ryan, but that Brooks did not want to be cast under Hanks’s shadow. The suit also claimed that Brooks turned down a role in Twister because “the star of the film was the tornado and Brooks wanted to be the star.”

5. HE WAS SIGNED TO A MINOR LEAGUE BASEBALL CONTRACT.

MIKE FIALA/AFP/Getty Images

Brooks has always been a solid athlete; he earned a track and field scholarship to Oklahoma State University, where he threw the javelin. In 1999 the San Diego Padres signed him to a minor league deal and invited him to spring training. Brooks played mostly left field and finished the spring with one hit in 22 tries for a .045 batting average. After getting his first (and only) hit, Brooks was met at first base with a hug from future Hall of Famer Frank Thomas. The next year, he signed with the New York Mets and took one more shot at the big leagues with the Kansas City Royals in 2004.

6. HE TRIED TO DONATE PART OF HIS LIVER.

When longtime friend and fellow country music artist Chris LeDoux was diagnosed with a disease of the bile ducts, Brooks graciously offered him a portion of his own liver. Although Brooks’s liver was incompatible, LeDoux was able to undergo a transplant in 2000 and release two more albums before being diagnosed with cancer of the bile duct in 2004. He passed away the following year.

7. HE HAS AN MBA.

Brooks has great business acumen (it would be hard to sell 148 million albums without it). In 2011 he was able to make it official, however, when he received his Master of Business Administration from Oklahoma State University. And not an honorary one, either—this one was legit.

8 Haunting Horror Movie Gimmicks

Universal Pictures Home Entertainment
Universal Pictures Home Entertainment

In the 1950s and 1960s, horror movies were making studios huge profits on shoestring budgets. But after the market hit horror overload, directors and studios had to be extra creative to get people to flock to theaters. That's when a flood of different gimmicks were introduced at movie theaters across the country to make a film stand out from the crowd. From hypnotists to life insurance policies and free vomit bags, here's a brief history of some of the most memorable horror movie gimmicks.

1. PSYCHO-RAMA // MY WORLD DIES SCREAMING (1958)

In order to truly become a classic, a horror movie can't just work on the surface; it has to get deep inside of your head. That's what Psycho-Rama tried to achieve when it was first conceived for My World Dies Screaming, later renamed Terror in the Haunted House. Psycho-Rama introduced audiences to subliminal imagery in order to let the scares sink in more than any traditional film could.

Skulls, snakes, ghoulish faces, and the word "Death" would all appear onscreen for a fraction of a second—not long enough for an audience member to consciously notice it, but it was enough to get them uneasy. Obviously Psycho-Rama didn't really catch on with the public or the film industry, but horror directors, like William Friedkin in The Exorcist, have since gone on to use this quick imagery technique to enhance their own movies.

2. FRIGHT INSURANCE // MACABRE (1958)

Director William Castle didn't make a name for himself in the film industry by directing cinematic classics; instead, he relied on shock and schlock to help fill movie theater seats. His movies were full of what audiences craved at the time: horror, gore, terror, suspense, and a heaping helping of camp. But his true genius came from marketing—and the gimmicks he brought to every movie, which have since become legendary among horrorphiles.

His most famous stunt was the life insurance policy he purchased for every member of an audience that paid to see Macabre. This was a real policy backed by Lloyd's of London, so if you died of fright in your seat, your family would receive $1000. Now who wouldn't want to roll the dice on that type of deal? Of course, the policy didn't cover anyone with a preexisting medical condition or an audience member who committed suicide during the screening. Lloyd's had to draw the line somewhere, right?

3. HYPNO-VISTA // HORRORS OF THE BLACK MUSEUM (1959)

How do you make your routine horror movie stand out from the crowd? Hypnotize your audience, of course. Thus Hypno-Vista was born. For this gimmick, James Nicholson, president of American International Pictures, suggested that a lecture by a hypnotist, Dr. Emile Franchel, should precede Horrors of the Black Museum, which had a plot focusing on a hypnotizing killer.

For 13 minutes, Dr. Franchel talked to the audience about the science behind hypnotism, before attempting to hypnotize them himself in order to feel more immersed in the story. Nowadays it comes off as overlong and dry, but it was a gimmick that got people into theaters back in 1959. Plus, writer Herman Cohen said that eventually the lecture had to be removed whenever the movie re-aired on TV because it did, in fact, hypnotize some people.

4. NO LATE ADMISSION // PSYCHO (1960)

Though this isn't the most gimmickiest of gimmicks, Alfred Hitchcock's insistence that no audience member be admitted into Psycho once the movie started got a lot of publicity at the time. The Master of Suspense's reasoning is less about drumming up publicity and more about audience satisfaction, though. Because Janet Leigh gets killed so early into the movie, he didn't want people to miss her part and feel misled by the movie's marketing.

This publicity tactic wasn't completely novel, though, as the groundbreaking French horror movie Les Diaboliques (1955) had a similar policy in place. This was at a time when people would simply stroll into movie screenings whenever they wanted, so to see a director—especially one so masterful at the art of publicity—who was adamant about showing up on time was a great way to pique some interest.

5. FRIGHT BREAK // HOMICIDAL (1961)

Another classic William Castle gimmick was the "fright break" he offered to audience members during his 1961 movie, Homicidal. Here, a timer would appear on the screen just as the film was hurtling toward its gruesome climax. Frightened audience members had 45 seconds to leave the theater and still get a full refund on their ticket. There was a catch, though.

Frightened audience members who decided to take the easy way out were shamed into the "coward's corner," which was a yellow cardboard booth supervised by some poor sap theater employee. Then, they were forced to sign a paper reading "I'm a bona-fide coward," before getting their money back. Obviously, at the risk of such humiliation, most people decided to just grit their teeth and experience the horror on the screen instead.

6. THE PUNISHMENT POLL // MR. SARDONICUS (1961)

The most interactive of William Castle's schlocky horror gimmicks put the fate of the film itself into the hands of the audience. Dubbed the "punishment poll," Castle devised a way to let viewers vote on the fate of the characters in the movie Mr. Sardonicus. Upon entering the theater, people were given a card with a picture of a thumb on it that would glow when a special light was placed on it. "Thumbs up" meant that Mr. Sardonicus would be given mercy, and "thumbs down" meant … well, you get the idea.

Apparently audiences never gave ol' Sardonicus the thumbs up, despite Castle's claims that the happier ending was filmed and ready to go. However, no alternative ending has ever surfaced, leaving many to doubt his claims. Chances are, there was only one way out for Mr. Sardonicus.

7. FREE VOMIT BAGS // MARK OF THE DEVIL (1970)

Horror fans are mostly masochists at heart. They don't want to be entertained—they want to be terrified. So when the folks behind 1970's Mark of the Devil gave out free vomit bags to the audience due to the film's grotesque nature, how could any self-respecting horror fan not be intrigued? It wasn't just the bags that the studio was advertising; it also claimed the film was rated V, for violence—and maybe some vomit?

8. DUO-VISION // WICKED, WICKED (1973)

Duo-Vision was hyped as the new storytelling technique in cinema—offering two times the terror for the price of one ticket. Of course Duo-Vision is just fancy marketing lingo for split-screen, meaning audiences see a film from two completely different perspectives side-by-side. In the 1973 horror film Wicked, Wicked, that meant watching the movie from the points of view of both the killer and his victims.

Seems like a perfect concept for the horror genre, right? Well, Duo-Vision wasn't just employed during the movie's most horrific moments; it was used for the movie's entire 95-minute runtime. The technique had been used sparingly in other films—most notably in Brian De Palma's much better film Sisters (1973)—but it had never been implemented to this extent. A little bit of Duo-Vision apparently goes a long way, because it fell out of favor soon after.

John Carpenter May Be Planning a They Live Sequel

Universal Studios Home Video
Universal Studios Home Video

John Carpenter is one of the horror genre's biggest names. The man behind the original Halloween, The Fog, Escape from New York, and The Thing, ​Carpenter has had a long enough career to see many of his most popular creations be remade, including this year's new Halloween film, which features some of the original actors returning to their iconic roles to continue a decades-long story.

But in a recent interview with ​Den of Geek, when Carpenter was questioned about whether his cult classic They Live might he ripe for revisiting, Carpenter teased: "Well, I’m not gonna tell you about that, because it might be closer to reality than you think."

​They Live, which came out in 1988, featured the late professional wrestler 'Rowdy' Roddy Piper in his signature role as a man who finds a pair of sunglasses that allow him to see the true state of the world and uncover an alien invasion. Like so many of Carpenter's other films, it has continued to amass a cult following in the decades since its release—especially among those viewers who understood and appreciated its underlying political metaphor.

Today's highly divisive political climate makes it a perfect time for a sequel/reboot/reimagining of They Live, and it sounds as if Carpenter might agree.

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