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We heard a lot of those shows. They impressed us when we started doing radio ourselves, because they sustained characters in a really surreal and weird kind of situation for a long period of time. They were doing that show for 10 years, all the way through the s.
So we were just listening to them at the end. It was that madness and the ability to go anywhere and do anything and yet sustain those funny characters. So when we first did written radio, where we would sit down and write half hour skits and do them once a week, which we did in the fall of , we did things that were imitative of The Goon Show and learned a lot of voices from them and such.
We each independently created our own material and characters and brought them together, not knowing what the others were going to pull.
And it was all based on put-ons; that is, we were assuming characters that were assumed to be real by the listeners. No matter how far out we would carry a premise, if we were tied to the phones we discovered the audience would go far ahead of us.
We could be as outrageous as we wanted to be and they believed us—which was astonishingly funny and interesting and terrifying to us, because it showed the power of the medium and the gullibility and vulnerability of most people. Recording career[ edit ] Bergman coined the term " love-in " in , and promoted the first Los Angeles Love-In, attended by 40, in Elysian Park, on his program.
This event caught the attention of Columbia Records staff producer Gary Usher , who sensed commercial potential for the Firesign Theatre and proposed to Bergman they make a "Love-In album" for Columbia; Bergman countered with the desire to make a Firesign Theatre record, and this led to a recording contract with the label.
The Firesigns changed their improvisational style, producing tightly scripted and memorized material. We all vaguely sort of know him, and a lot of the time take credit for him.
Electrician was released in January , followed by three more studio albums in the next three years: These live programs were recorded and then edited into slightly shorter shows and syndicated to radio stations across the country on 12" LP albums.
Their fifth album, Dear Friends , was a double-record compilation of what they considered the best segments from the series, released in January They also produced a live radio broadcast titled Martian Space Party, which was also filmed. A Video Vaudeville in Two Acts. He co-directed the album with Steve Gilmore, and the other three Firesigns starred on it, along with several guest personalities including disc jockey Wolfman Jack , Harry Shearer of The Credibility Gap , and broadcast journalist Lew Irwin.
Austin penned the album Roller Maidens From Outer Space , based on a hardboiled detective in the same vein as his Nick Danger character.
Nick Danger : in the case of the missing Yolk (VHS tape, 1983) [windowsforum.info]
All four Firesigns also performed on this album, along with a few extras. The Firesigns made a film lip synched to the album and showed it in a live appearance at Stanford University.
The film was released on VHS video tape in This album also sold poorly. The Firesigns closed out their Columbia Records contract with this live album in and a greatest-hits compilation Forward Into The Past in A Firesign Chat based largely on unreleased Dear Friends radio material, and a Proctor and Bergman studio album in , Give Us a Break , which lampooned radio and television of the time.
In , the reunited group produced a brief 2: The Case of the Missing Shoe. The episodes were released on an Extended Play record. Their last album of the s was the Fighting Clowns , consisting largely of comic songs written by the group.
Nick Danger and the Case of the Missing Yolk (1983) - Cast and Crew - Movie | Moviefone
The popularity of the group seemed to cool off after as the social and political climate of the United States changed with the election of President Ronald Reagan.
This would be expanded again and re-released in as Anythynge You Want To. Ossman temporarily left the group in early to work as a producer for National Public Radio in Washington DC,   as the remaining three Firesigns produced a new album in with the further adventures of their Nick Danger character, The Three Faces of Al , followed by the Eat or Be Eaten.
Energized by the election of Bill Clinton as president , and with Ossman back in the group, the Firesign Theatre reunited on April 24, , for a tour in Seattle, with an audience of 2, The Best of the Firesign Theatre. They developed this into a "millennium trilogy" with the Boom Dot Bust and Bride of Firesign albums. In , they released a four-CD boxed set Box of Danger , compiling all material which featured their most famous character, Nick Danger , including fan-produced material sent in to their website.
Their final album was the Duke of Madness Motors: