New Year's Day means changes to AFOS programming

I'm renaming one of the AFOS programming blocks. Starting January 3, "The F Zone," which focuses on "needle drops" (non-original songs during films like High Fidelity and the Harold & Kumar series and shows like Breaking Bad and Community), becomes "Rock Box." The time slots for "Rock Box" are 4-6am, 9-11am and 3-5pm on Mondays and 5-7am, 9-11am and 3-5pm on Fridays.

In November, I created a block called "New Cue Revue," which streams selections from new releases (or albums that aren't exactly new but are new to the "Assorted Fistful" playlist). It moves to Wednesdays at 10-11am and 4-5pm and Fridays at 11am-noon.

A new block called "The Street" will focus on my favorite kind of film or TV score album: the funky-sounding kind, the kind that gets frequently sampled by beatmakers. Curtis Mayfield, Isaac Hayes, David Holmes and newcomer Adrian Younge will get tons of airplay here. "The Street" airs on Mondays at 6-9am and noon-3pm, Tuesdays through Thursdays at 6-9am and 1-4pm and Fridays at 7-9am and 1-3pm.

The listeners who evaluate my playlists' tracks on Live365.com tend to give low star ratings to the funkier or more soulful-sounding ones. Live365 has listeners rate tracks because the site thinks this helps its station programmers decide which tracks to keep and which ones to get rid of. Well, it doesn't help this station programmer because I don't care about those listeners' ratings anyway. Every time someone on Live365 gives a track one and a half stars, it makes me want to find ways to stream it more often.

Whenever I upload a new track to one of my playlists, I always have to block my eyes from the ratings to keep myself from getting pissed off at a negative one. What the hell are those listeners doing hanging around AFOS anyway? I bet they want another StreamingSoundtracks or another Permanent Waves. AFOS is a little different from them. It streams certain subgenres of film or TV score music that those stations tend to ignore.

"The Street" is my three-hour middle finger to those people who give one and a half stars to classic tracks like "Pusherman." On Fridays, the block is two hours because my middle finger will get tired by the end of the week.

Who's That Voice on A Fistful of Soundtracks? #1: Adolph Caesar

I haven't blogged in ages because I'm busy with my webcomic (although I've been doing occasional microblogging), so to keep the blog from looking like it's frozen in time, here's the first in a series of posts that identifies the legendary voices that turn up often during either the Fistful of Soundtracks channel's programming or the movie/TV trailer clips that function as intros to the tunes that are part of the channel's "Assorted Fistful" block.

Adolph Caesar
Who is he?: A New York stage actor whose classy baritone was all over trailers and ads for blaxploitation flicks, Caesar earned acclaim late in life for some of his acting work both on stage and screen before dying from a heart attack in 1986.
Most memorable on-screen role: A role he reprised from the stage: the self-hating light-skinned black sergeant in A Soldier's Story who, in the above snapshot, is preparing to whup the ass of some future double Oscar winner.
Most memorable voiceover work: The trailers and TV/radio spots for the original Dawn of the Dead ("When there's no more room in hell, the dead will walk the earth").
When can you hear him on the Fistful of Soundtracks channel?: The trailers for Superfly and Hell Up in Harlem and the radio spots for Trouble Man, Slaughter, Three Tough Guys, Black Caesar, Truck Turner, Foxy Brown and Claudine.

The why of fly: Michael A. Gonzales' "Gangster Boogie" details the making of the Superfly soundtrack

(Photo source: Michael A. Gonzales)

I got my first taste of the late Curtis Mayfield's Superfly soundtrack when I watched a tape of a faded-looking print of the 1972 blaxploitation flick in either 1996 or 1997. Three elements of the movie stood out for me: the late Ron O'Neal's Shakespearean performance as a coke dealer who wants to quit the game, Sheila Frazier's nice body during the bathtub love scene and Mayfield's exceptional original songs, which are more insightful than the screenplay itself (Elvis Mitchell noted that "Mayfield's score rebels against the movie's insidious mythologizing of Priest"). Any piece of music Mayfield wrote or produced for movies just plain sizzles, whether it's any of the tunes in Superfly, the Let's Do It Again theme he produced for the Staple Singers or the Claudine theme "On and On" by Gladys Knight & the Pips.

Superfly fan Michael A. Gonzales has written what has to be the definitive chronicle of the making of the Superfly soundtrack, "Gangster Boogie," the must-read cover story in the latest issue of Wax Poetics magazine (what an issue it is: Mayfield! David Holmes! Roc Raida! Do the Right Thing! Black Dynamite! Funkdafied '70s European library music!). The Superfly soundtrack's influence on R&B and hip-hop shows no signs of waning (I didn't notice "Little Child Runnin' Wild" was sampled in Kanye West's "Flashing Lights" until it was pointed out by The-Breaks.com).

What makes Michael's piece stand out from other writings I've read about the 1972 soundtrack is that it doesn't neglect the importance of the sidemen and arrangers who helped Mayfield craft the soundtrack. Michael has said he wanted to avoid writing about Superfly through the lens of the auteur theory like other writings about classic albums he's read, hence the substantial interviews with Superfly guitarists Craig McMullen and Phil Upchurch and arranger Johnny Pate, who composed a terrific instrumental score for Shaft in Africa after Superfly.

"Gangster Boogie" also sheds light on the tensions between rock musicians and traditional film scorers that arise from projects like Superfly. I wasn't aware of Mayfield's lawsuit against his former friend Pate, who claimed he was solely responsible for writing Superfly's "Junkie Chase" and "Think" instrumental cues. It's one of many juicy tidbits in a fly article about the flyest of '70s movie soundtracks.

New trailer proves movie version of '70s cartoon show Star Trek doesn't look promising

By special guest blogger Sonny Gautier

One of my favorite TV shows is the Saturday morning cartoon Star Trek, which NBC first broadcast in 1973. It aired right after Hanna-Barbera's Butch Cassidy and the Sundance Kids cartoon and followed the adventures of Captain Kirk and the crew of a "starship" called the U.S.S. Enterprise. Their mission was to explore outer space. Along the way, the crew would butt heads with evil Klingon commanders, Orion pirates and dangerous energy cloud monsters.


The captain was bad. I dug that episode when he fought that turkey from the Orion pirate ship over a shipment of medicine for a sick Mr. Spock, his pointy-eared first officer from the planet Vulcan.


The Vulcan soul brother was an even badder dude than Kirk. He could read minds and he was always calm and cool like another hero of mine, John Shaft. When Spock traveled back in time to his childhood on his homeworld, he took down a wild Vulcan tiger by pinching it in the neck, which was some sort of mystical Vulcan ass-whupping move. That was bad. With moves like that, Spock will never die!


I also dug how the ship had a black crewmember manning the switchboard. I especially liked when Lt. Uhura got to be captain for a whole story because all the men from the Enterprise were captured by an all-female planet. Black folks don't often get such high positions of power on TV like Uhura did in that Star Trek episode.


So because I'm a fan of this forgotten cartoon, I was ecstatic about Paramount Pictures' upcoming major motion picture based on Star Trek.

That is until I saw the preview for it.

The movie doesn't look quite right. It doesn't look like the Star Trek I remember.


First of all, who cares about what Kirk and Spock were like as kids? The cartoon already showed us that Spock had a hard life as a mutt on Vulcan. His mama was human, his dad was Vulcan and the other Vulcan kids wanted to beat his ass. Why do we have to be told again how Spock came up? What else do we need to know, man? Can we just cut to the chase and see what the title says they're supposed to be doing, which is exploring space?


Kirk looks too young to be captain. He looks more like a cadet. And what the hell happened to his Orange Kool-Aid-colored hair?


The new Enterprise is too fast a ship now! In the animated show, the Enterprise was never that fast! This will take some getting used to.


Why is Spock trying to pimp-slap Kirk? He never pimp-slapped anybody in the cartoon.


One thing I dig about the preview is Uhura. She looks outta sight! Uhura was the finest sister on Saturday morning TV since Valerie from Josie and the Pussycats in Outer Space. Because Star Trek was a Saturday morning cartoon, I never got to see her in a bra. Now I finally get to. Right on!


Another thing I like is the brief footage of starships at war. The cartoon was never that intense and it never had so many things blow up. Man, I never saw so many ships attack each other like that!


There's not a lot of face-to-face dialogue in the preview. In the cartoon, everyone talked to each other all the time and did it real close to the camera. Real close. And only their eyes and mouths moved.


Where's the orange skinny dude with three arms? Where's the alien cat lady? Where are those forcefield belts that the Enterprise crew wore whenever they walked out into space? It's not Star Trek without them.


Often, a preview isn't really helpful in telling you if the flick is any good or not (that Superfly T.N.T. preview didn't prepare me for how much of a letdown that movie was), so I guess I'll reserve judgment until I see the entire Star Trek movie, which comes out this May. I hope it lives up to the cartoon.

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Sonny Gautier is a new Fistful of Soundtracks listener from Bed-Stuy and he offered to review the new Star Trek trailer for my blog. Due to brain damage caused by exposure to too many Sid and Marty Krofft shows, a then-adolescent Sonny lapsed into a coma in 1974 and didn't wake up until last month, which means he missed the 10 Star Trek feature films and four Trek live-action spinoff shows that followed the cartoon. Because Sonny's only taste of Trek was the Saturday morning version before he slipped into his coma, he didn't know Trek originated as a live-action show until I pointed it out to him via e-mail a couple of hours ago. Because he doesn't want to be laughed at for his mistakes, Sonny has demanded that I remove his post. Yeah right, like I'm gonna remove it. This shit's too funny.