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8 Movie Star-Filled Music Videos from the 1980s

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Musicians aren’t the only entertainers who like to flex their performing muscles; actors occasionally can’t resist the lure of regular MTV rotation. That was the trend for a while during the 1980s, anyway. Most of the title songs from films that hit the Top 40 were turned into music videos simply by splicing together a hodgepodge of clips from the movie, but there were some actors who took the trouble to actually appear in the accompanying videos. Whether it was a chance to ham it up with their favorite singers or because the studio ordered them to participate, the results were usually more interesting than the standard collection of movie clips.

1. “GHOSTBUSTERS” (1984) // RAY PARKER JR.

Ray Parker Jr. was not particularly interested in writing/recording the theme song for Ghostbusters; his forte was songs about romance, not the paranormal. So he was even less enthusiastic about appearing in the video for the song. When he saw the sparse set outlined in neon, he worried that he was going to look silly prancing around while miming the lyrics. So he suggested to director Ivan Reitman that maybe if he could get some of the guys from the movie to appear in the video, even if just long enough to shout “Ghostbusters!,” the audience would understand that the clip was supposed to be humorous.

Reitman liked the idea and ran with it, popping a cassette of the tune into a boombox and calling on various industry friends (or actors who happened to be working nearby, such as John Candy on the set of Brewster’s Millions), with a small camera crew in tow. George Wendt, like the other cameo actors, did not get paid for his appearance, which later got him into hot water with the Screen Actors Guild and set the wheels in motion for SAG to begin organizing the music video industry.

2. “WHEN THE GOING GETS TOUGH, THE TOUGH GET GOING” (1985) // BILLY OCEAN

The Jewel of the Nile producer Michael Douglas was savvy enough to have kept his eye on MTV and the previous videos that had helped to promote films (particularly Eddy Grant’s “Romancing the Stone”) and thus was the driving force behind the video accompanying Billy Ocean’s “When the Going Gets Tough.”

Douglas enlisted his The Jewel of the Nile co-stars Kathleen Turner and Danny DeVito to perform with him as a “doo-wop” type of backup group. The trio of actors had three hours of rehearsal to learn their Temptations-style moves, and they actually sang along to the track as it played, rather than simply lip-syncing. “We were singing our a**es off,” Douglas told People magazine in 1986. “You begin to believe in yourself until they turn the sound off and you’re there croaking.”

3. “ST. ELMO’S FIRE (MAN IN MOTION)” (1985) // JOHN PARR

David Foster, the record producer in charge of the soundtrack of the 1985 Brat Pack angst-filled film St. Elmo’s Fire, approached British singer/songwriter John Parr with the idea of writing a theme song for the movie. Interestingly enough, Foster didn’t provide Parr with any scenes from the movie; instead he showed him some film footage of Canadian Paralympian Rick Hansen who, inspired by fellow Canadian Terry Fox’s “Marathon of Hope,” launched a 26-month “Man in Motion” trek across 34 countries on four continents in his wheelchair.

When it came time to film the video for the song, it had to be shot within a 24-hour timeframe, due to some of Parr’s previous commitments. The stars of the film assembled on a set structured to resemble a decrepit version of the old watering hole they frequented in the movie. Parr later admitted that he didn’t recognize any of the actors—the “Brat Pack” had not yet made an impact in the U.K.—and thought that they were “just kids." Having starred in a few school plays in his youth, he even offered them a couple of acting tips. (Mare Winningham, who played Wendy in the film, was actually three months pregnant while filming St. Elmo’s Fire, and even more so when the music video was shot, which is why she’s holding a folded-up winter coat in front of her tummy during her close-up.)

4. “SPIES LIKE US” (1985) // PAUL MCCARTNEY

John Landis directed both the film and the music video for the title song of Spies Like Us. Chevy Chase and Dan Aykroyd traveled to London to lark about Abbey Road Studios with Sir Paul McCartney. The U.K. refused to air the video until it was reedited to remove scenes of Chase “playing” the keyboard and Donna Dixon and Vanessa Angel singing backup, because they were not members of the Musicians Union.

5. “THE GOONIES ‘R’ GOOD ENOUGH” (1985) // CYNDI LAUPER

Steven Spielberg invited Cyndi Lauper to be the musical director for the soundtrack to his 1985 adventure film The Goonies. Lauper was disappointed with the final result, not only because Spielberg cut most of the music from the film—making the soundtrack “meaningless” in Lauper’s opinion—but because the title of her song “Good Enough” was changed to “The Goonies ‘R’ Good Enough.” Studio execs believed that listeners wouldn’t associate the song with the movie unless “Goonies” was in the title; Lauper thought the new title sounded “cheesy.”

Nevertheless, she filmed a long-form, two-part video for the song, which featured not only members of the movie’s cast but also several WWF stars like Rowdy Roddy Piper, Captain Lou Albano, and André the Giant. “We were spaced out because it was Saturday after a long week,” Sean Astin recalled, “but we flipping loved that song and wanted to do lots of vids with the Great Cyndi Lauper!"

6. “PRINCES OF THE UNIVERSE” (1986) // QUEEN

Queen was commissioned to provide the soundtrack to the 1986 film Highlander, and “Princes of the Universe” (which was played over the main titles) was the only track on the album to be credited solely to Freddie Mercury. The video that accompanied the song was directed by Russell Mulcahy, who also helmed Highlander, and was filmed at London’s Elstree Studios.

There was great attention to detail (not to mention expense) on the set when it came to recreating the Silvercup rooftop scene with scenes of the medieval crumbling castle in the background. Brian May, John Deacon, and Roger Taylor were dutifully clad in official Connor MacLeod trench coats (“Macs” to U.K. readers) for the occasion. Highlander star Christopher Lambert flew in from Paris just to film a quick “sword battle” with Mercury for the video. Lambert told Entertainment Tonight that he totally enjoyed the experience; that it was like being witness to a private Queen concert.

7. “SWEET FREEDOM” (1986) // MICHAEL MCDONALD

“Sweet Freedom” wasn’t technically the theme song to Running Scared, the 1986 buddy cop film starring Billy Crystal and Gregory Hines; that honor belongs to Fee Waybill’s “Running Scared,” which played over the opening credits. But the lead singer of The Tubes didn’t have the Top 40 marquee value of Michael McDonald, who’d fronted the Doobie Brothers for seven years and had several top 10 hits under his belt. “Sweet Freedom” was produced by Rod Temperton, who wrote Michael Jackson’s hit “Thriller,” and was heavy with the percussive synth-bass that was the 1980s movie backdrop “sound.” Crystal and Hines joined McDonald to “sing” along on the chorus, luckily in more toned-down plumage than they sported in the film during this Key West musical montage.

8. “CITY OF CRIME” (1987) // DAN AYKROYD AND TOM HANKS

Dan Aykroyd and Tom Hanks aren’t known for being singers, much less rappers, but they gamely recorded the closing theme for their 1987 big-screen version of Dragnet. Paula Abdul devised the choreography for the music video, recycling some of the moves she taught ZZ Top for their “Velcro Fly” video.

During a 2015 appearance on The Graham Norton Show, Hanks busted a few rhymes from the song “that will haunt him for the rest of his life” and also revealed that “City of Crime” was the first video he ever saw on YouTube—courtesy of his children, who couldn’t wait to taunt him with it.

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30 Memorable Quotes from Carrie Fisher
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Just days after suffering a heart attack aboard a flight en route to Los Angeles, beloved actress, author, and screenwriter Carrie Fisher passed away at the age of 60 on December 27, 2016. Though she’ll always be most closely associated with her role as Princess Leia in Star Wars, Fisher’s life was like something out of its own Hollywood movie. Born in Beverly Hills on this day in 1956, Fisher was born into show business royalty as the daughter of singer Eddie Fisher and actress Debbie Reynolds.

In addition to her work in front of the camera, Fisher built up an impressive resume behind the scenes, too, most notably as a writer; in addition to several memoirs and semi-autobiographical novels, including Wishful Drinking, Surrender the Pink, Delusions of Grandma, The Best Awful, Postcards from the Edge, and The Princess Diarist (which was released last month), she was also an in-demand script doctor who counted Sister Act, Hook, Lethal Weapon 3, and The Wedding Singer among her credits.

Though she struggled with alcoholism, drug addiction, and mental illness, Fisher always maintained a sense of humor—as evidenced by the 30 memorable quotes below.

ON GROWING UP IN HOLLYWOOD

“I am truly a product of Hollywood in-breeding. When two celebrities mate, someone like me is the result.”

“I was born into big celebrity. It could only diminish.”

“At a certain point in my early twenties, my mother started to become worried about my obviously ever-increasing drug ingestion. So she ended up doing what any concerned parent would do. She called Cary Grant.”

“I was street smart, but unfortunately the street was Rodeo Drive.”

“If anything, my mother taught me how to sur-thrive. That's my word for it.”

ON AGING

“As you get older, the pickings get slimmer, but the people don't.”

ON INSTANT GRATIFICATION

“Instant gratification takes too long.”

ON THE LEGACY OF STAR WARS

“People are still asking me if I knew Star Wars was going to be that big of a hit. Yes, we all knew. The only one who didn't know was George.”

“Leia follows me like a vague smell.”

“I signed my likeness away. Every time I look in the mirror, I have to send Lucas a couple of bucks.”

“People see me and they squeal like tropical birds or seals stranded on the beach.”

“You're not really famous until you’re a Pez dispenser.”

ON THE FLEETING NATURE OF SUCCESS

“There is no point at which you can say, 'Well, I'm successful now. I might as well take a nap.'”

ON DEALING WITH MENTAL ILLNESS

“I'm very sane about how crazy I am.”

ON RESENTMENT

“Resentment is like drinking poison and waiting for the other person to die."

ON LOVE

“Someone has to stand still for you to love them. My choices are always on the run.”

“I've got to stop getting obsessed with human beings and fall in love with a chair. Chairs have everything human beings have to offer, and less, which is obviously what I need. Less emotional feedback, less warmth, less approval, less patience, and less response. The less the merrier. Chairs it is. I must furnish my heart with feelings for furniture.”

“I don’t hate hardly ever, and when I love, I love for miles and miles. A love so big it should either be outlawed or it should have a capital and its own currency.”

ON EMOTIONS

“The only thing worse than being hurt is everyone knowing that you're hurt.”

ON RELATIONSHIPS

“I envy people who have the capacity to sit with another human being and find them endlessly interesting, I would rather watch TV. Of course this becomes eventually known to the other person.”

ON HOLLYWOOD

“Acting engenders and harbors qualities that are best left way behind in adolescence.”

“You can't find any true closeness in Hollywood, because everybody does the fake closeness so well.”

“It's a man's world and show business is a man's meal, with women generously sprinkled through it like overqualified spice.”

ON FEAR

“Stay afraid, but do it anyway. What’s important is the action. You don’t have to wait to be confident. Just do it and eventually the confidence will follow.”

ON LIFE

“I don’t want life to imitate art. I want life to be art.”

“No motive is pure. No one is good or bad-but a hearty mix of both. And sometimes life actually gives to you by taking away.”

“If my life wasn't funny it would just be true, and that is unacceptable.”

“I shot through my twenties like a luminous thread through a dark needle, blazing toward my destination: Nowhere.”

“My life is like a lone, forgotten Q-Tip in the second-to-last drawer.”

ON DEATH

“You know what's funny about death? I mean other than absolutely nothing at all? You'd think we could remember finding out we weren't immortal. Sometimes I see children sobbing at airports and I think, 'Aww. They've just been told.'”

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12 Admissible Facts About Judge Judy
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Judge Judith Sheindlin was 54 years old when her namesake TV show premiered on September 16, 1996. Two years later the diminutive (5’1”) adjudicator was trouncing the powerhouse Oprah Winfrey Show in the Nielsen ratings. Today, she is one of the highest paid TV celebrities, earning $47 million per year—which she will continue to do through 2020, thanks to a new extended contract.

Fervent fans are familiar with Judge Judy’s more outrageous cases, like The Tupperware Lady and the eBay Cell Phone Scammer, but they might not know some of these fun facts about both the show and the woman behind it, who turns 75 years old today.

1. THAT GRUFF, NO-NONSENSE STYLE OF JURISPRUDENCE IS NOT AN ACT.

Judge Judy spent a little over 20 years in New York City’s family court system, where she earned a reputation early in her career for being blunt, impatient, and tough-talking. “I can’t stand stupid, and I can’t stand slow,” was one of her oft-repeated “Judyisms” at that time. She also frequently warned attorneys appearing before her: "I want first-time offenders to think of their appearance in my courtroom as the second-worst experience of their lives ... circumcision being the first." 60 Minutes filmed her in action as part of a 1993 profile, and while her hair color and eyebrows have softened since then, her impatient rants and verbal smackdowns haven’t changed a bit.

2. SHE BEGAN WEARING HER TRADEMARK LACE COLLAR AS SOON AS SHE WAS APPOINTED AS A JUDGE.

New York City Mayor Ed Koch appointed Judith Sheindlin to the bench in 1982, and to celebrate she and her husband Jerry—both civil servants at the time—took a $399 package trip to Greece for two weeks. While passing by a row of street kiosks with various locally made crafts for sale, she impulsively purchased a white lace collar from a vendor. She explained to her husband that male judges wore stiff-collared white dress shirts and colorful neckties that peeped out of the top of their robes, so that they had a nice colorful “buffer” between the austere black gown and their face. Female judges, however, had nothing but neck peeping out of their robes and the unforgiving black color revealed every minute of sleep deprivation as well as any skin tone irregularities. The white lace collar, she decided, would not only perk up her face but would also be a bit disarming for litigants—she could picture them thinking “That nice little lady with the lace collar sitting behind the bench couldn’t hurt a fly!”

3. DESPITE THOSE NEW YORK CITY SCENES ON THE COMMERCIAL BUMPERS, JUDGE JUDY IS TAPED IN CALIFORNIA.

Sheindlin spends 52 days per year taping her show. She flies to California via private jet every other Monday and hears cases on Tuesday and Wednesday (occasionally Thursday if there are production delays). One full week’s worth of shows are filmed each day. Many viewers, however, are fooled into thinking Judy is holding court in her native New York, thanks to the scenic Manhattan footage in between station breaks and the New York state flag behind her chair. That is, until something oh-so-unique to the west coast—like an earthquake—occurs on-camera. (Note that in the clip below, Judge Judy quickly ducks beneath her bench once the room begins to tremble.)

4. SHE IS BRIEFED ON THE CASES BEFORE SHE ARRIVES ON THE SET.

Judge Sheindlin does not go to the studio unprepared; producers FedEx the sworn statements and relevant information on each upcoming case to her home (Naples, Florida in the winter; Greenwich, Connecticut in the spring and summer) and she familiarizes herself with enough details to have some background, but not enough so that the case doesn’t appear “fresh” when she questions the litigants during filming.

5. THE CASES REALLY ARE REAL.

The production company has a staff of 60-plus researchers across the country who spend their days poring over lawsuits filed in local small claims courts. Thanks to the Freedom of Information Act, they are able to photocopy cases that they think might make for interesting television and those copies are forwarded to the show’s producers. Any cases that make it to the next stage (about three percent) involve contacting the litigants involved and asking them if they’d like to forego their civil court hearing in exchange for a free trip to Los Angeles, an $850 appearance fee, and a per diem of $40 (as of 2012). An added incentive is that any judgments awarded are paid by the show, not by the plaintiff or defendant. The best cases, according to the executive producer, are those that involve litigants with a prior relationship—mother/daughter, father/son, boyfriend/girlfriend, etc. Such cases engage the audience because it’s an emotional tie that’s been broken (the recurring plot on many soap operas).

6. THE AUDIENCE, HOWEVER, IS NOT SO REAL.

Regular viewers will note that the same faces seem to pop up in the audience regularly. Those folks in the spectator seats are paid extras (often aspiring actors) who earn $8 per hour to sit and look attentive. Prospective audience members apply for the limited amount of seats by emailing their contact information along with a clear headshot to one of Judge Judy’s production coordinators (sorry, we cannot provide that info). If chosen, the spectator must dress appropriately (business casual or better) and arrive promptly for the 8:30 a.m. call time. Audience members must pass through metal detectors on their way in and are not allowed to bring cell phones or any electronic devices with them, and food, drinks and chewing gum are also verboten. Spectators are rearranged after each case so it’s not as obvious that it’s the same group of people, and the most attractive folks are always seated in the front row (it’s Hollywood, after all). The audience is instructed to talk animatedly amongst themselves in between each case so that Officer Byrd’s “Order in the court!” admonition has more impact. Bad behavior is grounds for immediate expulsion (in front of 10 million viewers, as Judge Judy likes to remind us).

7. JUDGE JUDY DRESSES CASUALLY FOR THE JOB.

Sheindlin has been known to publicly chastise litigants who come to her courtroom in skimpy clothing or “beach attire,” but behind that bench and under that robe she is usually sporting jeans and a tank top or T-shirt.

8. OFFICER BYRD IS A REAL BAILIFF.

Brooklyn native Petri Hawkins Byrd earned his B.Sc. degree from the John Jay College of Criminal Justice in 1989 and started working in the Brooklyn Family Court system. He first worked with Judge Sheindlin when he transferred to the Manhattan Family Court. “We [the court officers] used to call her the Joan Rivers of the judicial system,” he recalled in a 2004 interview. “She was just hilarious.” Byrd relocated to San Mateo, California in 1990 to work as a Special Deputy U.S. Marshal and a few years later he read an item in Liz Smith’s gossip column about Sheindlin’s upcoming TV show. He sent his old colleague a congratulatory letter and added, “If you need a bailiff, I still look good in uniform.”

9. DESPITE HIS SOMETIMES IMPOSING COURTROOM DEMEANOR, OFFICER BYRD IS ALSO A VERY FUNNY GUY.

He is a talented impressionist, but his sense of humor almost cost him his job—or so he thought at the time. Once, back when he was working with the feisty Judge Sheindlin in New York, he donned her robe and reading glasses to entertain his co-workers with a barrage of Judyisms. Of course, as always seems to happen when one mocks the boss in the workplace, he was caught in the act.

10. THE OCCASIONAL CELEBRITY RELIES ON JUDGE JUDY’S BRAND OF JUSTICE.

Depending upon your own definition of “celebrity”, of course. Actress Roz Kelly (Pinky Tuscadero on Happy Days) appeared on the show in 1996 as the plaintiff, suing her plastic surgeon for a leaky breast implant that was impeding her acting career. One year later, former Sex Pistol John Lydon (a.k.a. Johnny Rotten) appeared as a defendant when drummer Robert Williams, who was hired to support Lydon on a solo tour, sued the singer for lost wages and an assault. Despite Lydon’s occasional bad courtroom behavior, the decision was made in his favor.

11. THE STAR ORIGINALLY DIDN’T WANT THE SHOW NAMED AFTER HER.

Sheindlin first envisioned calling her show Hot Bench, a term used frequently in the appellate court, but the producers wisely advised her that the term was meaningless to TV viewers who didn’t work in the legal system. Her next thought was Judy Justice, since she’d overheard her court officers warning deadbeat parents who were delinquent in child support payments that they were in for a load of "Judy Justice" if they weren’t prepared to cough up some money. In retrospect, Sheindlin realized the wisdom in calling the show Judge Judy: She couldn’t be easily replaced, as the various judges had been on The People’s Court. However, after 19 years on the air, she still does not refer to herself by that sobriquet; whether introducing herself to someone or advertising her show in a promotional clip, she is always either “Judge Sheindlin” or “Judge Judy Sheindlin.”

12. JUDGE SHEINDLIN INHERITED HER SENSE OF HUMOR FROM HER FATHER.

Murray Blum, Judy’s beloved father, was a dentist whose office was in the family home. In those days—before sedation dentistry was an option—a dentist’s best tool to distract nervous patients was the gift of gab, and Murray became a master storyteller out of necessity. Years of listening to her father at the dinner table and at family gatherings taught Judy how to deliver a punchline. One evening outside of a hotel in Hollywood, Sheindlin was approached by a woman who introduced herself as Lorna Berle. She told the judge that her husband Milton was a huge fan and asked if she would mind talking to him for a moment. The elderly comic slowly emerged from a limo and Judy greeted him by singing the theme song to Texaco Star Theater, her favorite TV show as a child. Milton Berle complimented her in return, saying “Kid, you’ve got great comic timing.”

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