1 00:00:14,480 --> 00:00:17,880 Speaker 1: You're listening to Part Time Genius, the production of Kaleidoscope 2 00:00:18,040 --> 00:00:24,560 Speaker 1: and iHeartRadio. Guess well, will what's that? 3 00:00:24,640 --> 00:00:24,920 Speaker 2: Mango? 4 00:00:25,280 --> 00:00:28,280 Speaker 1: So I have been practicing mentalism. 5 00:00:29,320 --> 00:00:30,920 Speaker 2: I hate to say this, but I actually find that 6 00:00:30,960 --> 00:00:31,520 Speaker 2: hard to believe. 7 00:00:31,600 --> 00:00:33,600 Speaker 1: I'm gonna prove it to you so I can make 8 00:00:33,680 --> 00:00:36,520 Speaker 1: you and everyone listening to this think of the same 9 00:00:36,560 --> 00:00:39,080 Speaker 1: word at the same time. All Right, I'm ready, Okay, 10 00:00:39,080 --> 00:00:40,839 Speaker 1: here we go. Who are you gonna call? 11 00:00:43,280 --> 00:00:46,000 Speaker 2: Ghostbusters? I mean, that's funny, but I don't think that 12 00:00:46,120 --> 00:00:47,480 Speaker 2: counts as mentalism. Mango. 13 00:00:47,680 --> 00:00:50,239 Speaker 1: Yeah, I know. It just really proves how iconic the 14 00:00:50,320 --> 00:00:54,160 Speaker 1: song is. But apparently the Ghostbuster's theme song was difficult 15 00:00:54,200 --> 00:00:57,360 Speaker 1: for composer Ray Parker Junior to write. And why is 16 00:00:57,440 --> 00:01:01,160 Speaker 1: that Well, for one very specific reason. He had trouble 17 00:01:01,160 --> 00:01:03,840 Speaker 1: figuring out a way to fit the word ghostbusters into 18 00:01:03,880 --> 00:01:06,880 Speaker 1: the lyrics. It turns out it's a pretty weird word 19 00:01:06,920 --> 00:01:09,080 Speaker 1: to put in a song starting with what are you 20 00:01:09,120 --> 00:01:11,720 Speaker 1: gonna rhyme with Ghostbusters? Lackluster? 21 00:01:12,959 --> 00:01:16,399 Speaker 2: I get a feather duster insurance adjuster, Like. It feels 22 00:01:16,440 --> 00:01:17,759 Speaker 2: like he had a few options there. 23 00:01:18,600 --> 00:01:20,640 Speaker 1: Yeah, but none of those are going to get people 24 00:01:20,720 --> 00:01:23,880 Speaker 1: hyped at a party. But According to Ray Parker Junior, 25 00:01:24,080 --> 00:01:28,120 Speaker 1: the director Ivan Rerightman was adamant that the word ghostbusters 26 00:01:28,120 --> 00:01:31,240 Speaker 1: being the lyrics. Apparently, the music itself came pretty easy. 27 00:01:31,680 --> 00:01:33,920 Speaker 1: When Parker joined the project, the movie was in the 28 00:01:34,040 --> 00:01:36,800 Speaker 1: editing stage with I Want a New Drug by Huey 29 00:01:36,920 --> 00:01:40,399 Speaker 1: Lewis as a placeholder theme song, so Parker created a 30 00:01:40,440 --> 00:01:43,000 Speaker 1: track with a similar riff, but he just couldn't figure 31 00:01:43,000 --> 00:01:45,880 Speaker 1: out how to sing the word ghostbusters in a catchy way, 32 00:01:46,080 --> 00:01:48,000 Speaker 1: and he was actually down to the wire with the 33 00:01:48,000 --> 00:01:51,320 Speaker 1: deadline to get this done. Finally, inspiration struck when he 34 00:01:51,400 --> 00:01:54,320 Speaker 1: remembered that in the movie the guys have a commercial 35 00:01:54,400 --> 00:01:57,919 Speaker 1: with their phone number, and that led to this undeniable line, 36 00:01:58,080 --> 00:02:01,440 Speaker 1: who you Gonna Call Ghostbusters? Which I will now have 37 00:02:01,520 --> 00:02:03,040 Speaker 1: stuck in my head for the rest of the day. 38 00:02:03,080 --> 00:02:04,400 Speaker 2: But I'm not complaining. 39 00:02:05,560 --> 00:02:08,360 Speaker 1: Well, get used to the feeling, because today we're uncovering 40 00:02:08,400 --> 00:02:12,520 Speaker 1: some real earworms. We've got nine catchy facts about theme songs, 41 00:02:12,720 --> 00:02:13,560 Speaker 1: so let's dive in. 42 00:02:31,880 --> 00:02:37,120 Speaker 2: Hey, their podcast listeners, welcome the part time genius. I'm 43 00:02:37,120 --> 00:02:39,600 Speaker 2: Will Pearson and as always I'm joined by my good 44 00:02:39,600 --> 00:02:42,400 Speaker 2: friend Mangesh hot Ticket. And there on the other side 45 00:02:42,440 --> 00:02:45,120 Speaker 2: of the booth. Wait, where did where did Dylan go? 46 00:02:46,400 --> 00:02:48,200 Speaker 1: I don't know, but I think I hear that song 47 00:02:48,360 --> 00:02:48,840 Speaker 1: Return of. 48 00:02:48,880 --> 00:02:52,280 Speaker 2: The Mac in my earphones. Okay, yeah, he's actually walking 49 00:02:52,360 --> 00:02:56,000 Speaker 2: into Return of the Mac like it's his own personal 50 00:02:56,200 --> 00:02:59,920 Speaker 2: theme songkh He's so smooth. That's our paler introducer Dylan. 51 00:03:00,680 --> 00:03:03,560 Speaker 1: That song is catchy, and I'm also really glad he 52 00:03:03,639 --> 00:03:04,440 Speaker 1: returned to the book. 53 00:03:04,480 --> 00:03:07,400 Speaker 2: Yeah, me too. We need this episode recorded. And actually, 54 00:03:07,400 --> 00:03:10,200 Speaker 2: to bring it back to your incredible mentalism trick, my 55 00:03:10,280 --> 00:03:13,600 Speaker 2: next theme song has a similar widespread impact. It's the 56 00:03:13,600 --> 00:03:16,680 Speaker 2: one that starts in West Philadelphia ring a bell. 57 00:03:16,520 --> 00:03:18,720 Speaker 1: There born and Raise exactly. 58 00:03:18,760 --> 00:03:21,160 Speaker 2: It's from the Fresh Prince of bel Air. And here's 59 00:03:21,200 --> 00:03:24,520 Speaker 2: what's funny. The show almost didn't have that iconic wrap 60 00:03:24,560 --> 00:03:28,120 Speaker 2: because executive producer Quincy Jones wrote a whole different song 61 00:03:28,160 --> 00:03:30,760 Speaker 2: for the theme. But when Will Smith heard it, he 62 00:03:30,919 --> 00:03:31,480 Speaker 2: hated it. 63 00:03:31,600 --> 00:03:33,840 Speaker 1: Can you imagine telling Quincy Jones that you don't like 64 00:03:33,919 --> 00:03:34,840 Speaker 1: something he wrote. 65 00:03:35,400 --> 00:03:38,600 Speaker 2: I have never told Quincy Jones that. But he had 66 00:03:38,600 --> 00:03:41,040 Speaker 2: produced so many hits, from Sinatra's Fly Me to the 67 00:03:41,040 --> 00:03:43,000 Speaker 2: Moon to Ray Charles in the Heat of the Night 68 00:03:43,120 --> 00:03:45,920 Speaker 2: to We Are the World, so many of Michael Jackson's 69 00:03:46,000 --> 00:03:49,080 Speaker 2: hits from bad to thriller, don't stop to you gain enough? 70 00:03:49,120 --> 00:03:53,080 Speaker 2: I mean Will Smith knew Quincy was a very big deal. 71 00:03:53,400 --> 00:03:53,560 Speaker 1: Now. 72 00:03:53,560 --> 00:03:55,720 Speaker 2: Of course, Will Smith and DJ Jazzy Jeff had won 73 00:03:55,760 --> 00:03:58,840 Speaker 2: a Grammy in nineteen eighty nine for parents Just Don't Understand, 74 00:03:58,880 --> 00:04:01,440 Speaker 2: which I think puts them in exact same selon right. 75 00:04:02,000 --> 00:04:05,000 Speaker 2: So this was Smith's first major acting job. So as 76 00:04:05,000 --> 00:04:07,440 Speaker 2: he was telling Jazzy Jeff he couldn't speak up about 77 00:04:07,440 --> 00:04:10,520 Speaker 2: the songs, Jazzy Jeff came up with a different solution. 78 00:04:10,960 --> 00:04:13,400 Speaker 2: He said, why don't we try recording our own version 79 00:04:13,440 --> 00:04:14,120 Speaker 2: of a theme song? 80 00:04:14,240 --> 00:04:15,840 Speaker 1: So much humors? Yeah? I know. 81 00:04:16,279 --> 00:04:19,120 Speaker 2: So in a later interview, Jeff explained that Will Smith 82 00:04:19,279 --> 00:04:23,240 Speaker 2: often struggled with developing a concept for a song, but 83 00:04:23,279 --> 00:04:25,560 Speaker 2: once the concept was there, like in this case, the 84 00:04:25,600 --> 00:04:27,760 Speaker 2: plot of the show, it was easier for him to 85 00:04:27,800 --> 00:04:30,600 Speaker 2: write the lyrics. So it actually came together really quickly. 86 00:04:31,080 --> 00:04:33,680 Speaker 1: And how does Quincy Jones react to all of this? 87 00:04:33,960 --> 00:04:36,240 Speaker 2: So, according to Smith, when he played it for Jones, 88 00:04:36,279 --> 00:04:39,440 Speaker 2: he said, quote, that's good. Mine's a piece of You 89 00:04:39,440 --> 00:04:41,560 Speaker 2: can use your mentalism to fill in the blank. So 90 00:04:41,680 --> 00:04:43,839 Speaker 2: the song was approved and just in the Nick of 91 00:04:43,880 --> 00:04:47,279 Speaker 2: time jazz. Jeff remembers there being just three weeks between 92 00:04:47,320 --> 00:04:50,159 Speaker 2: recording the theme song demo and the day the show 93 00:04:50,279 --> 00:04:51,200 Speaker 2: actually premiered. 94 00:04:51,440 --> 00:04:54,719 Speaker 1: That is incredible. Well, I think we can give Quincy 95 00:04:54,800 --> 00:04:57,520 Speaker 1: some consolation with this next one, because even if he 96 00:04:57,560 --> 00:05:00,520 Speaker 1: didn't write the Fresh Prince song, he did did write 97 00:05:00,560 --> 00:05:03,400 Speaker 1: the Austin Powers theme and he did it in just 98 00:05:03,440 --> 00:05:04,000 Speaker 1: twenty minutes. 99 00:05:04,080 --> 00:05:06,080 Speaker 2: I actually didn't remember I had anything to do with that, 100 00:05:06,160 --> 00:05:08,080 Speaker 2: and that is unbelievably. 101 00:05:07,400 --> 00:05:10,039 Speaker 1: Fast, truly, and it's a piece with so many parts. 102 00:05:10,040 --> 00:05:13,240 Speaker 1: There are flutes, trombone, drums, and they all add so 103 00:05:13,320 --> 00:05:17,000 Speaker 1: much character throughout the track. The song is called Soul 104 00:05:17,200 --> 00:05:20,160 Speaker 1: bossa Nova. I love that, but he didn't write it 105 00:05:20,200 --> 00:05:22,760 Speaker 1: for the movie. Jones actually wrote this piece way back 106 00:05:22,839 --> 00:05:26,039 Speaker 1: in nineteen sixty two, so that's over three decades before 107 00:05:26,120 --> 00:05:28,400 Speaker 1: Mike Myers danced to it in the opening scene of 108 00:05:28,400 --> 00:05:31,840 Speaker 1: Austin Powers. The song is really a product of its 109 00:05:31,880 --> 00:05:35,279 Speaker 1: time though. Bossa Nova was a trendy genre of Brazilian 110 00:05:35,360 --> 00:05:38,480 Speaker 1: music in the early sixties. And I didn't know this before, 111 00:05:38,520 --> 00:05:42,040 Speaker 1: but the term means new thing or new style. 112 00:05:42,000 --> 00:05:44,839 Speaker 2: Which I guess could also describe Mike Myer's comedy in 113 00:05:44,880 --> 00:05:48,600 Speaker 2: the nineteen nineties. But what set this new style apart well. 114 00:05:48,720 --> 00:05:52,320 Speaker 1: The bossonova genre was defined by its quieter sound compared 115 00:05:52,320 --> 00:05:57,000 Speaker 1: to the traditional samba. It was rhythmically complex and this 116 00:05:57,120 --> 00:06:01,360 Speaker 1: jazzy style, but it usually featured flute and saxophones. Quincy 117 00:06:01,440 --> 00:06:04,360 Speaker 1: Jones had spent time in Brazil during this Boston Nova 118 00:06:04,520 --> 00:06:08,039 Speaker 1: movement and he got inspired, so he wrote Soul Bosonova 119 00:06:08,120 --> 00:06:11,200 Speaker 1: soon after he left the country. He'd eventually make a 120 00:06:11,240 --> 00:06:14,400 Speaker 1: self proclaimed fortune on the song, but that almost didn't happen. 121 00:06:14,520 --> 00:06:17,520 Speaker 1: In his autobiography, Jones writes about a failed tour of 122 00:06:17,560 --> 00:06:21,600 Speaker 1: Europe where his all star band was incredibly successful, but 123 00:06:21,720 --> 00:06:25,960 Speaker 1: the budgeting was terrible and he calls it an economic disaster. 124 00:06:26,440 --> 00:06:28,760 Speaker 1: He said the tour taught him the difference between music 125 00:06:28,839 --> 00:06:31,320 Speaker 1: and the music business, and he had to actually sell 126 00:06:31,360 --> 00:06:34,080 Speaker 1: his music catalog to make up for the losses. But 127 00:06:34,400 --> 00:06:36,560 Speaker 1: as he made money, he bought back the rights to 128 00:06:36,600 --> 00:06:39,559 Speaker 1: his song for one hundred five thousand dollars, a price 129 00:06:39,680 --> 00:06:42,760 Speaker 1: seven times higher than he sold him for. But as 130 00:06:42,800 --> 00:06:46,320 Speaker 1: Quincy Jones put it, quote that song, it won't go away. 131 00:06:46,720 --> 00:06:49,480 Speaker 1: Mike Myers used it for the themes of Austin Powers films. 132 00:06:49,560 --> 00:06:52,480 Speaker 1: It was also used in the movie The Pawnbroker and 133 00:06:52,680 --> 00:06:55,039 Speaker 1: a Woody Allen film, Take the Money and Run. But 134 00:06:55,160 --> 00:06:58,400 Speaker 1: perhaps most importantly, it was the theme song for a 135 00:06:58,440 --> 00:07:02,480 Speaker 1: popular Canadian game show called Definition that ran from nineteen 136 00:07:02,560 --> 00:07:05,640 Speaker 1: seventy four to nineteen eighty nine, which is how he 137 00:07:05,800 --> 00:07:08,440 Speaker 1: really made his money on this song, and it's also 138 00:07:08,480 --> 00:07:10,080 Speaker 1: where young Mike Myers. 139 00:07:09,720 --> 00:07:10,440 Speaker 2: First heard it. 140 00:07:11,600 --> 00:07:13,640 Speaker 1: By the way, the piano player on the track is 141 00:07:13,760 --> 00:07:17,640 Speaker 1: Leilo Schiffrin, who wrote the Mission Impossible theme song, which 142 00:07:17,800 --> 00:07:18,880 Speaker 1: I know is on your list. 143 00:07:18,960 --> 00:07:21,440 Speaker 2: Yeah, no, spoilers, stopped piking my list, but yes, the 144 00:07:21,480 --> 00:07:25,800 Speaker 2: Mission Impossible theme song was written by Argentinian jazz pianist 145 00:07:26,000 --> 00:07:29,160 Speaker 2: Leilo Schiffrin. This was in nineteen sixty six, and this 146 00:07:29,280 --> 00:07:31,680 Speaker 2: song is known for its unique use of a five 147 00:07:31,720 --> 00:07:34,240 Speaker 2: to four time signature. I think we can all hear 148 00:07:34,280 --> 00:07:36,360 Speaker 2: it in our heads. But the notes go from two 149 00:07:36,440 --> 00:07:39,400 Speaker 2: long beats to two short beats and then that repeats. 150 00:07:39,400 --> 00:07:42,280 Speaker 2: Of course, well, those long and short notes can actually 151 00:07:42,320 --> 00:07:46,080 Speaker 2: be translated into Mars code as dash dash dot dot. Now, 152 00:07:46,080 --> 00:07:48,920 Speaker 2: in Morse code M is two dashes and I is 153 00:07:48,960 --> 00:07:52,040 Speaker 2: two dots, so the song actually spells out m I 154 00:07:52,560 --> 00:07:53,000 Speaker 2: that is. 155 00:07:52,960 --> 00:07:55,160 Speaker 1: Really cool, and it's kind of like an easter egg 156 00:07:55,240 --> 00:07:56,760 Speaker 1: in music notes exactly. 157 00:07:56,800 --> 00:07:59,960 Speaker 2: But also that rhythm and those notes make it very identified, 158 00:08:00,280 --> 00:08:02,840 Speaker 2: which is basically Schiffrin nailing the assignment. 159 00:08:02,880 --> 00:08:05,200 Speaker 1: I think, why why is that? Well? 160 00:08:05,240 --> 00:08:07,960 Speaker 2: When the show's creator, Bruce Geller called Schiffrin to ask 161 00:08:08,040 --> 00:08:11,320 Speaker 2: him to write the song, he had a very detailed request. 162 00:08:11,640 --> 00:08:13,400 Speaker 2: He said he was looking for something that when a 163 00:08:13,480 --> 00:08:15,840 Speaker 2: viewer went to the kitchen to get a soda, if 164 00:08:15,880 --> 00:08:18,280 Speaker 2: they heard the theme music, they would immediately know that 165 00:08:18,320 --> 00:08:20,040 Speaker 2: Mission Impossible was playing on TV. 166 00:08:20,760 --> 00:08:23,440 Speaker 1: I love that. That's how he was thinking about it, 167 00:08:23,520 --> 00:08:26,720 Speaker 1: and obviously that's what theme songs do. It's still true today. 168 00:08:26,840 --> 00:08:30,480 Speaker 2: Yeah, and Schiffrin gained some pretty high profile fans for it. So, 169 00:08:30,520 --> 00:08:33,080 Speaker 2: for example, he went on to score Bruce Lee's Enter 170 00:08:33,160 --> 00:08:36,319 Speaker 2: the Dragon. Lee requested him personally because he liked listening 171 00:08:36,360 --> 00:08:38,840 Speaker 2: to the Mission Impossible soundtrack while he was working out. 172 00:08:40,880 --> 00:08:43,000 Speaker 1: I love the idea of Bruce Lee just like listening 173 00:08:43,040 --> 00:08:48,600 Speaker 1: to the Mission Impossible soundtrack over and over, punching and kicking. Well, 174 00:08:48,640 --> 00:08:51,160 Speaker 1: oddly enough, my next theme song also has a hidden 175 00:08:51,160 --> 00:08:53,439 Speaker 1: message in it, and I want to tell you about it. 176 00:08:53,480 --> 00:09:11,760 Speaker 1: But first a little break. Welcome back to Part Time Genius, 177 00:09:11,800 --> 00:09:14,120 Speaker 1: where we're counting down nine facts about some of our 178 00:09:14,160 --> 00:09:16,840 Speaker 1: favorite theme songs. If you like what you're hearing, be 179 00:09:17,000 --> 00:09:20,120 Speaker 1: sure to subscribe on your favorite podcast app, and please 180 00:09:20,200 --> 00:09:23,120 Speaker 1: leave us a rating and review. We love, love, love 181 00:09:23,200 --> 00:09:23,800 Speaker 1: hearing from you. 182 00:09:24,200 --> 00:09:25,840 Speaker 2: All right, well, speaking of things we love to hear, 183 00:09:26,000 --> 00:09:27,640 Speaker 2: I'm curious what's your next fact? 184 00:09:27,920 --> 00:09:30,480 Speaker 1: So if you've ever wondered what's going on with the 185 00:09:30,520 --> 00:09:33,400 Speaker 1: Frasier theme song, first of all, you are not alone, 186 00:09:33,720 --> 00:09:37,520 Speaker 1: and second, I have answers. So if you're called a 187 00:09:37,559 --> 00:09:39,880 Speaker 1: theme song, there's a line that goes toss salads and 188 00:09:39,920 --> 00:09:42,920 Speaker 1: scrambled eggs have a combination that no one has ever 189 00:09:43,080 --> 00:09:46,000 Speaker 1: ordered or wanted to eat together. And yet it's in 190 00:09:46,040 --> 00:09:49,400 Speaker 1: the intro to one of the most beloved nineties sitcoms. 191 00:09:49,440 --> 00:09:51,440 Speaker 2: Yeah, I have to man, I never understood what that 192 00:09:51,520 --> 00:09:54,559 Speaker 2: was about, so apparently there's some metaphor built into it. 193 00:09:54,880 --> 00:09:57,240 Speaker 2: The composer of the song is Bruce Miller, and the 194 00:09:57,280 --> 00:09:59,960 Speaker 2: producer has asked him to create something jazzy and play 195 00:10:00,120 --> 00:10:03,439 Speaker 2: him this Joni Mitchell song for inspiration. They also didn't 196 00:10:03,480 --> 00:10:07,720 Speaker 2: want a song to reference psychiatry, psychology, or really anything 197 00:10:07,760 --> 00:10:10,680 Speaker 2: specific about the plot of the show. I guess unlike 198 00:10:10,720 --> 00:10:11,559 Speaker 2: Fresh Prince. 199 00:10:11,360 --> 00:10:13,960 Speaker 1: Yeah, it's kind of the opposite. But Miller went to 200 00:10:14,040 --> 00:10:17,439 Speaker 1: his friend Darryl Finnissy to write the lyrics, and Finishy 201 00:10:17,559 --> 00:10:20,000 Speaker 1: sent back the version We Know and Love Today with 202 00:10:20,280 --> 00:10:23,440 Speaker 1: all that like toss salads and scrambled eggs lines. He 203 00:10:23,720 --> 00:10:27,160 Speaker 1: used those foods as a veiled reference to Fraser's patients, 204 00:10:27,600 --> 00:10:30,640 Speaker 1: things that were quote mixed up, and the rest of 205 00:10:30,679 --> 00:10:33,200 Speaker 1: the lyrics have meaning as well. I hear the blues 206 00:10:33,200 --> 00:10:36,760 Speaker 1: of Colin. Those are obviously Fraser's patients calling into his 207 00:10:36,840 --> 00:10:39,920 Speaker 1: radio show and he's got them pegged, which is how 208 00:10:39,960 --> 00:10:43,199 Speaker 1: he can help them through their problems. And yet those 209 00:10:43,320 --> 00:10:46,040 Speaker 1: toss solads and scrambled eggs calling again at the end 210 00:10:46,080 --> 00:10:49,320 Speaker 1: of the song. That's you know, the callers still calling. 211 00:10:49,480 --> 00:10:51,160 Speaker 2: Yeah, I mean, I really thought those lyrics were just 212 00:10:51,240 --> 00:10:54,160 Speaker 2: kind of nonsense and more creating a vibe or something. 213 00:10:54,240 --> 00:10:57,439 Speaker 1: Yeah, me too. And another interesting tibit is that Bruce 214 00:10:57,480 --> 00:11:00,280 Speaker 1: Miller wanted meltor Mae to sing the theme song, but 215 00:11:00,520 --> 00:11:03,240 Speaker 1: Kelsey Grammer told the show's producers he wanted to sing it, 216 00:11:03,360 --> 00:11:05,000 Speaker 1: and obviously Grammar got the gig. 217 00:11:05,120 --> 00:11:06,720 Speaker 2: Yeah, huh, that's pretty fun. 218 00:11:06,960 --> 00:11:07,280 Speaker 1: All right. 219 00:11:07,280 --> 00:11:09,560 Speaker 2: Well, I'm going to one up your old sitcom theme song. 220 00:11:09,640 --> 00:11:13,760 Speaker 2: I'm going even older Mango to the theme the Gilligan's Island, 221 00:11:13,760 --> 00:11:17,680 Speaker 2: written by show's creator and producer Sherwood Schwartz with George 222 00:11:17,679 --> 00:11:20,600 Speaker 2: wil who also wrote the song It's the most wonderful 223 00:11:20,640 --> 00:11:22,880 Speaker 2: time of the year. As most of our older listeners 224 00:11:22,880 --> 00:11:25,800 Speaker 2: will know, the theme song was a TV classic, using 225 00:11:25,840 --> 00:11:28,920 Speaker 2: a sea shanty style to describe how Gilligan and the 226 00:11:29,000 --> 00:11:31,719 Speaker 2: gang they got stranded on this island after what was 227 00:11:31,760 --> 00:11:34,240 Speaker 2: supposed to be just a three hour tour, of course, 228 00:11:34,600 --> 00:11:37,880 Speaker 2: but there were actually different versions over the years. In fact, 229 00:11:37,920 --> 00:11:41,040 Speaker 2: the original Gilligan's Island theme didn't even mention Professor or 230 00:11:41,120 --> 00:11:42,360 Speaker 2: Mary Anne. Can you imagine this? 231 00:11:42,760 --> 00:11:45,040 Speaker 1: Yeah, I mean those are pretty big characters to leave out. 232 00:11:45,120 --> 00:11:46,200 Speaker 1: So how did this happen? 233 00:11:46,480 --> 00:11:48,680 Speaker 2: Well, the story goes that it was because of actress 234 00:11:48,720 --> 00:11:52,640 Speaker 2: Tina Luise's contract. She played Ginger the movie star, and 235 00:11:52,679 --> 00:11:55,200 Speaker 2: apparently one of the details in her contract was that 236 00:11:55,240 --> 00:11:58,000 Speaker 2: she would be named last in the credits. So the 237 00:11:58,040 --> 00:12:01,400 Speaker 2: song finished with the movie and the rest without any 238 00:12:01,480 --> 00:12:05,160 Speaker 2: mention of the Professor or Mary Anne. Sherwood Schwartz wrote 239 00:12:05,160 --> 00:12:07,880 Speaker 2: a book about his time working on Gilligan's Island, and 240 00:12:07,920 --> 00:12:10,840 Speaker 2: while he didn't exactly confirm that fact, he did write 241 00:12:10,840 --> 00:12:13,640 Speaker 2: that quote. The characters had to be introduced in a 242 00:12:13,640 --> 00:12:17,440 Speaker 2: certain order because of contractual obligations. But before season two, 243 00:12:17,520 --> 00:12:20,640 Speaker 2: the actor who played Gilligan, Bob Denver, requested the other 244 00:12:20,679 --> 00:12:23,000 Speaker 2: two cast mates be added to the song, and of 245 00:12:23,040 --> 00:12:26,000 Speaker 2: course they were, but Don Wells and Russell Johnson, who 246 00:12:26,040 --> 00:12:29,640 Speaker 2: played Marianne and the Professor, seemed unbothered by the original emission. 247 00:12:29,880 --> 00:12:32,040 Speaker 2: According to Wells, they used to write each other notes 248 00:12:32,080 --> 00:12:33,720 Speaker 2: signed love the rest. 249 00:12:34,360 --> 00:12:37,560 Speaker 1: I love that. So jumping from the sixties to the seventies, 250 00:12:37,600 --> 00:12:40,199 Speaker 1: I discovered a story of a theme song composer who 251 00:12:40,240 --> 00:12:42,400 Speaker 1: also wanted to be the lead part in the project. 252 00:12:42,559 --> 00:12:45,960 Speaker 1: And I'm talking about Isaac Hayes, who composed the theme 253 00:12:46,080 --> 00:12:48,800 Speaker 1: from Shaft. He was approached to score the movie in 254 00:12:48,880 --> 00:12:51,640 Speaker 1: nineteen seventy one, but he was more focused on whether 255 00:12:51,679 --> 00:12:55,120 Speaker 1: he could play the lead role of private detective John Shaft. 256 00:12:55,640 --> 00:12:58,600 Speaker 1: And he asked the director, Gordon Parks, if he could audition, 257 00:12:59,000 --> 00:13:02,800 Speaker 1: and he kind of got this lukewarm response. The director said, okay, 258 00:13:02,840 --> 00:13:05,760 Speaker 1: but remember you've got to do the music. According to Hayes, 259 00:13:05,800 --> 00:13:08,400 Speaker 1: he went home and immediately started telling all his friends 260 00:13:08,400 --> 00:13:10,120 Speaker 1: about how he's going to try out for the role, 261 00:13:10,480 --> 00:13:13,880 Speaker 1: not even mentioning the actual job he had scoring the music. 262 00:13:14,320 --> 00:13:16,839 Speaker 1: Within about two weeks he found out, however, that Richard 263 00:13:16,880 --> 00:13:19,560 Speaker 1: Brountree was cast a Shaft and he'd just be doing 264 00:13:19,559 --> 00:13:20,080 Speaker 1: the music. 265 00:13:20,559 --> 00:13:22,720 Speaker 2: I mean, I guess he overcame his disappointment and did 266 00:13:22,760 --> 00:13:25,280 Speaker 2: make one of the most iconic theme songs of all time. 267 00:13:25,360 --> 00:13:29,319 Speaker 1: Right, yeah, it's pretty unforgettable and amazingly, the Shaft single 268 00:13:29,320 --> 00:13:32,640 Speaker 1: and album hit number one. Hayes also earned an OSCAR 269 00:13:32,760 --> 00:13:35,920 Speaker 1: for Best Original Song, making him only the third black 270 00:13:36,040 --> 00:13:38,160 Speaker 1: artist to do so at the time. All right, well, 271 00:13:38,240 --> 00:13:40,280 Speaker 1: let's go back to the small screen for the next one. 272 00:13:40,440 --> 00:13:43,200 Speaker 1: So the Rembrandts are famously known for the Friends theme 273 00:13:43,280 --> 00:13:45,680 Speaker 1: I'll be there for You. In fact, mentalf loss Rights 274 00:13:45,760 --> 00:13:48,920 Speaker 1: quote when Friends producer Kevin S. Bright sent the pilot 275 00:13:48,960 --> 00:13:52,640 Speaker 1: episode to the Rembrandts, its placeholder theme song was RIM's 276 00:13:52,720 --> 00:13:53,720 Speaker 1: It's the end of the World. 277 00:13:53,800 --> 00:13:55,720 Speaker 2: We know it and I feel fine. We all know 278 00:13:55,840 --> 00:13:58,160 Speaker 2: that song very well, which he was hoping they could 279 00:13:58,200 --> 00:14:01,080 Speaker 2: emulate if they took the gig. But before they could 280 00:14:01,080 --> 00:14:04,720 Speaker 2: get to writing. Apparently, Friends co creator Marta Kaufman's husband 281 00:14:04,760 --> 00:14:07,280 Speaker 2: Michael Scloff wrote the song and he got help with 282 00:14:07,360 --> 00:14:10,240 Speaker 2: the words from Ali Willis, who co wrote Earth Wind 283 00:14:10,320 --> 00:14:14,400 Speaker 2: and Fire's hit September, and then the rem Brands brandified it. 284 00:14:14,440 --> 00:14:15,679 Speaker 2: I don't know if you knew that term. 285 00:14:16,320 --> 00:14:16,560 Speaker 1: So now. 286 00:14:16,600 --> 00:14:18,480 Speaker 2: At the time, the rem Brands were working on their 287 00:14:18,559 --> 00:14:21,240 Speaker 2: third album, and because this was just a theme song 288 00:14:21,360 --> 00:14:24,200 Speaker 2: for a TV show, the original version was only forty 289 00:14:24,240 --> 00:14:27,160 Speaker 2: two seconds long, but as the song became a hit, 290 00:14:27,240 --> 00:14:29,960 Speaker 2: the theme song did too. In fact, the band learned 291 00:14:30,000 --> 00:14:32,360 Speaker 2: that a radio station in Nashville was playing the track 292 00:14:32,440 --> 00:14:35,320 Speaker 2: on a loop just to satisfy the crazy call and 293 00:14:35,480 --> 00:14:39,320 Speaker 2: listener demand. But the idea started spreading to other stations too, 294 00:14:39,400 --> 00:14:42,600 Speaker 2: and other DJs got the same idea, So the band 295 00:14:42,640 --> 00:14:45,560 Speaker 2: wrote an extended version to add it to their album, 296 00:14:45,920 --> 00:14:48,040 Speaker 2: even though one hundred thousand copies of the album had 297 00:14:48,080 --> 00:14:51,200 Speaker 2: already been printed. They decided to do this anyway, and 298 00:14:51,240 --> 00:14:54,000 Speaker 2: because the producers of Friends had helped write the theme song, 299 00:14:54,400 --> 00:14:57,200 Speaker 2: they were in the studio along with the Rembrandts working 300 00:14:57,240 --> 00:15:00,640 Speaker 2: on that extended track. Pretty wild, isn't it now? First, 301 00:15:00,680 --> 00:15:02,720 Speaker 2: the rem Brands were pretty annoyed by having to add 302 00:15:02,760 --> 00:15:04,920 Speaker 2: the sitcom track to the album because it didn't really 303 00:15:04,960 --> 00:15:07,000 Speaker 2: fit into the arc of the album that they had 304 00:15:07,040 --> 00:15:09,800 Speaker 2: already made. But in the end they were pretty okay 305 00:15:09,840 --> 00:15:12,520 Speaker 2: with it since it helped them sell a lot more copies. 306 00:15:13,040 --> 00:15:15,080 Speaker 2: By the way, here's a little quiz for you. How 307 00:15:15,080 --> 00:15:17,120 Speaker 2: many claps do you think are in the song after 308 00:15:17,160 --> 00:15:23,840 Speaker 2: that first line? Hmm? It's kind of a trick question. 309 00:15:23,960 --> 00:15:24,760 Speaker 2: What were you going to say? 310 00:15:24,760 --> 00:15:24,920 Speaker 1: Though? 311 00:15:25,040 --> 00:15:28,600 Speaker 2: For I think or okay, there are four claps then 312 00:15:28,600 --> 00:15:31,680 Speaker 2: a drum comes in. But for anyone who was unsure, 313 00:15:31,720 --> 00:15:34,480 Speaker 2: there's no need to be embarrassed. Apparently Matt LeBlanc didn't 314 00:15:34,480 --> 00:15:36,720 Speaker 2: know how many claps to do when filming the recent 315 00:15:36,840 --> 00:15:38,120 Speaker 2: Friends Reunion either. 316 00:15:39,840 --> 00:15:43,440 Speaker 1: Well, speaking of friends, that ties perfectly into my last 317 00:15:43,480 --> 00:15:46,800 Speaker 1: fact about two unlikely friends brought together by a theme song. 318 00:15:47,200 --> 00:15:50,800 Speaker 1: And I'm talking about Paul Simon and baseball great Joe DiMaggio. 319 00:15:51,160 --> 00:15:54,240 Speaker 1: And the song, of course is Missus Robinson, written by 320 00:15:54,240 --> 00:15:57,200 Speaker 1: Simon for the film The Graduate. Now the song today's 321 00:15:57,200 --> 00:16:00,520 Speaker 1: the lyric where have you Gone? Joe DiMaggio? Only Joe 322 00:16:00,520 --> 00:16:03,320 Speaker 1: DiMaggio didn't know how to feel about that question at first, 323 00:16:03,600 --> 00:16:05,600 Speaker 1: and a few years after it came out, Simon and 324 00:16:05,680 --> 00:16:09,040 Speaker 1: Dmaggio ran into each other at a restaurant. According to Simon, 325 00:16:09,080 --> 00:16:12,120 Speaker 1: DiMaggio said, quote, what I don't understand is why you 326 00:16:12,160 --> 00:16:15,040 Speaker 1: ask where I've gone. I just did a mister coffee commercial. 327 00:16:15,080 --> 00:16:17,880 Speaker 1: I'm a spokesman for the Bowery Savings Bank. I haven't 328 00:16:17,920 --> 00:16:19,000 Speaker 1: gone anywhere. 329 00:16:20,560 --> 00:16:23,840 Speaker 2: It's a pretty hilarious way for Joe Demaggio to describe himself. 330 00:16:23,640 --> 00:16:26,840 Speaker 1: Right, And this gave Simon the chance to explain the line. 331 00:16:26,920 --> 00:16:30,000 Speaker 1: What it meant was where have all the heroes gone? 332 00:16:30,120 --> 00:16:32,360 Speaker 1: You know, all the great heroes? And he didn't mean 333 00:16:32,400 --> 00:16:36,400 Speaker 1: Demagio specifically. And I guess the explanation satisfied Demagio because 334 00:16:36,440 --> 00:16:39,320 Speaker 1: the two became friends for life. Simon even wrote an 335 00:16:39,360 --> 00:16:43,160 Speaker 1: obituary for DiMaggio after he passed and sang the song 336 00:16:43,280 --> 00:16:46,080 Speaker 1: in centerfield of Yankee Stadium to honor him. Now, the 337 00:16:46,120 --> 00:16:49,280 Speaker 1: irony is, according to Paul Simon, he was always more 338 00:16:49,320 --> 00:16:50,600 Speaker 1: of a Mickey Mantle guy. 339 00:16:52,160 --> 00:16:54,000 Speaker 2: I have to say a mango that fact is worthy 340 00:16:54,000 --> 00:16:58,160 Speaker 2: of today's trophy. So congratulations, I love it. 341 00:16:58,200 --> 00:17:00,720 Speaker 1: Well, that is it for today's episod. We'll be back 342 00:17:00,840 --> 00:17:04,280 Speaker 1: next week with another brand new episode, and in the meantime, 343 00:17:04,359 --> 00:17:06,480 Speaker 1: you can find us on Instagram at part Time Genius. 344 00:17:06,720 --> 00:17:08,760 Speaker 1: Research and writing for this episode was done by our 345 00:17:08,800 --> 00:17:13,320 Speaker 1: old friend Meredith Danko. Thank you Meredith, and from Dylan, Gabe, Mary, 346 00:17:13,440 --> 00:17:28,000 Speaker 1: Will and myself, thank you so much for listening. Part 347 00:17:28,040 --> 00:17:31,679 Speaker 1: Time Genius is a production of Kaleidoscope and iHeartRadio. This 348 00:17:31,800 --> 00:17:35,600 Speaker 1: show is hosted by Will Pearson and Me Mongage Heatikler 349 00:17:35,960 --> 00:17:39,960 Speaker 1: and research by our good pal Mary Philip Sandy. Today's 350 00:17:39,960 --> 00:17:43,320 Speaker 1: episode was engineered and produced by the wonderful Dylan Fagan 351 00:17:43,400 --> 00:17:47,000 Speaker 1: with support from Tyler Klang. The show is executive produced 352 00:17:47,000 --> 00:17:50,560 Speaker 1: for iHeart by Katrina Norvell and Ali Perry, with social 353 00:17:50,600 --> 00:17:54,280 Speaker 1: media support from Sasha Gay, trustee Dara Potts and buy 354 00:17:54,320 --> 00:17:58,880 Speaker 1: Any Shorey. For more podcasts from Kaleidoscope and iHeartRadio, visit 355 00:17:58,920 --> 00:18:02,840 Speaker 1: the iHeartRadio app, Apple Podcasts, or wherever you listen to 356 00:18:02,840 --> 00:18:16,879 Speaker 1: your favorite shows.