In the documentary “Searching for Lin Zhao’s Soul,” filmmaker Hu Jie investigates the life and execution of a young woman who struggled for human rights in China.
The struggle for human rights has been an ongoing battle throughout history. Many heroes, like Martin Luther King Jr., are justly lauded for their work. But for each person we celebrate, there are thousands of forgotten heroes who also stood up to oppression and gave their lives to make the world a better place.
Lin Zhao, who was born January 23, 1932, was a student at Peking University in China when she was imprisoned for speaking out on behalf of students who were being persecuted during Chairman Mao Zedong’s Anti-Rightist Movement in the late 1950s. Lin was a writer who wrote articles and poems. And when her captors forbade her to use pens, she used a hairpin dipped in her own blood to write on the walls of her cell.
On April 29, 1968 the People’s Republic of China executed Lin Zhao by gunshot.
With memory of her seemingly lost to history, filmmaker and independent historian Hu Jie encountered her story. And he quit his job so he could investigate Lin’s struggle for civil rights and bring her story alive in the documentary, “Searching for Lin Zhao’s Soul” (Sometimes translated as “In Search of Lin Zhao’s Soul.”
The movie, released in 2012, won Best Film at the Sunshine Chinese Documentary Film Festival. If you can track it down, there is a version of the moving documentary about Lin Zhao with English subtitles that periodically appears on YouTube.
Before he became a star, Bruce Willis was an extra sitting in a courtroom watching Paul Newman’s closing argument in “The Verdict.”
One of the greatest lawyer movies of all time that also features one of Paul Newman’s best performances as a down-on-his-luck alcoholic attorney is the 1982 film, The Verdict. Fans of the movie likely know that it was directed by Sidney Lumet and in addition to Newman featured standout performances from Charlotte Rampling, Jack Warden, James Mason, and Milo O’Shea. But did you know that Bruce Willis also appears in the movie?
Yes, Bruce Willis is in the The Verdict. But if you did not know, you probably do not remember him because he was an extra and had no lines.
During Paul Newman’s closing argument, Willis sits in the courtroom. Watch about three rows back as Newman starts the scene. As the camera starts to pan in, Willis is high in the center of the screen.
Unfortunately, once you see the 27-year-old Willis in the scene, it is hard to stay focuses on Newman’s great acting. Maybe I should not have told you about it, but I had to share.
Three years after The Verdict, Bruce Willis would gain a more prominent role playing David Addison Jr. in the television series Moonlighting starting in 1985. After a few film roles, his movie career took off following a starring role in 1988’s Die Hard. Like other fans of many of his films, I was saddened to hear of his retirement in 2022 due to an aphasia diagnosis.
Bruce Willis, however, is not the only future popular actor sitting in the audience as an extra in The Verdict. Just to Willis’s right in the courtroom (and in the photo above), you may also see Tobin Bell, who later became famous as John Kramer, aka Jigsaw, in the Saw movie franchise.
If you have never seen The Verdict, make sure to check it out, both to catch a glimpse of yet-to-be discovered stars and to see a great movie. The film currently has an 89% critics rating and 88% audience rating onRotten Tomatoes. But maybe it would get a few extra points if more people knew about Bruce Willis.
While best known for the uplifting title songs from “Fame” and “Flashdance,” Irene Cara created a movng performance of a song about isolation and loneliness with “Out Here On My Own.”
In the early 1980’s, one would have expected Irene Cara, who passed away in November 2022, to go on to have a long and successful music (and acting) career based largely upon recording two of the biggest hits of the early 1980s. Few artists have such big exciting hit title tracks from successful movies so close together. First, starring in the movie Fame (1980), Cara hit it big not only with “Fame,” but an impressive star turn as an actress. Then, three years later, she topped the charts with “Flashdance . . . What a Feeling” from the movie Flashdance (1983). But while I loved those songs, it was a quieter performance from Fame that I always think of first when I hear her name.
In the early 1980s, I had gone off to attend college several hundred miles away from home. Like many others there, I was young and living on my own for the first time, going somewhere where I had no friends or family. Of course, all of us there were extremely fortunate to be where we were, but many of us also were experiencing a new kind of loneliness. As with any recolocation, during those early days we had not yet forged the new bonds and friendships that would eventually come.
It was in those days that the school’s movie theater offered a showing of Fame. And there, in that darkened theater, we found some kinship with the young characters on the screen striving to create something out of their lives, struggling for success while also learning to encounter failure.
In that context, Irene Cara appeared onscreen and performed the song “Out Here On My Own.” Unlike the title track where she and everyone danced, she sold this song by merely singing at a piano. Her moving performance of the opening lyrics made our audience lean into the song. And we were there with her all the way to the final note.
Sometimes I wonder where I’ve been, Who I am, Do I fit in. Make believin’ is hard alone, Out here on my own.
As I listened, I thought about my own feelings, connecting as we do with much great art to find ourselves. I felt connected to the isolation reflected in the song, thinking it was only me. But then something happened I had not seen before and have not seen since.
I have seen movie audiences clap at the end of a movie.
I have heard movie audiences cheer when the good guy finally defeats the bad guy.
But during Fame, in the middle of the film, I was surprised to hear the college audience applaud and cheer Irene Cara’s performance of this quiet song.
And that is why Cara’s “Out Here On My Own” remains so important for me. At that moment when I was feeling alone and isolated, I realized that others in that same room were feeling the same thing. And Irene Cara brought us together for those few minutes. And it also taught me a lesson that remains to this day, to remember to be kind to others because they are often going through things that you might not suspect or know.
In recent years due to the Covid pandemic, many of us around the world have encountered new layers of loneliness, making “Out Here On My Own” seem especially timely. Reportedly, Irene Cara herself faced her own isolation in these last years leading to her death too, making the song even more poignant.
“Out Here On My Own,” while not as big of a hit as the title track “Fame,” was successful on its own. The song, written by the sister-brother team of Lesley Gore and Michael Gore, not only charted but was nominated for an Academy Award. It lost to the other bigger and happier Irene Cara song from the movie about living forever, “Fame.”
But “Out Here On My Own” remains one of the great movie songs about loneliness. In Billboard, Chuck Taylor wrote about the rerelease of the soundtrack, noting that “Out Here On My Own” “remains as simplistic and memorable a statement of isolation as has ever been written”
For a song about isolation, though, I always remember it as bringing people together.
Albert Hague, recognizable for his role in the original “Fame” movie and the 1980s TV series, also wrote the music for the beloved Christmas classic, “How the Grinch Stole Christmas!”
If you were around in the 1980s, you likely remember the movie Fame (1980), which also became a TV series that ran from 1982 until 1987. One of the actors in Fame had earlier found success writing music for a beloved Christmas animated special, Dr. Seuss’ How the Grinch Stole Christmas!
Albert Hague as Mr. Shorofsky
The movie Fame was later remade in 2009, but both the 1980’s version of the movie and of the series featured the character of Benjamin Shorofsky. Mr. Shorofsky was a teacher with more traditional ideas of music who sometimes butted heads with the more “hip” students. The actor who played Mr. Shorofsky, Albert Hague, was also an established musician in his own right. He wrote music for several Broadway musicals, even winning the Best Score Tony Award in 1959 for Bob Fosse’s musical Redhead. But his music that you most likely recognize is what he wrote for the Christmas 1966 animated special, Dr. Seuss’ How the Grinch Stole Christmas!
In this scene from the original movie, Mr. Shorofsky debates about the future of music with Bruno (Lee Curreri), a student at the New York City High School for the Performing Arts.
Below is a scene from the second season of the Fame TV series. In it, Hague, as Shorosfsky, sings “Did I Ever Really Live?” as the same student, Bruno, again played by Lee Curreri, looks on.
Hague had earlier written the music for the popular song.
Music for The Grinch
As for Dr. Seuss’ How the Grinch Stole Christmas!, Hague is credited with composing the music for the 1966 special, long before his work on Fame. While songs like “You’re a Mean One, Mr. Grinch” feature lyrics by Dr. Seuss, the music comes from Hague. In the special, that song is performed by Thurl Ravenscroft.
And Hague also wrote the music for the featured song “Welcome Christmas.” The Who’s perform the song in the special.
Hague was born in Berlin, Germany on October 13, 1920 as part of a Jewish family. As Hitler rose to power, Hague moved to America, earning a music scholarship at the University of Cincinnati. After graduating in 1942, he served in the United States Army’s special service during World War II.
During his music career Hague often collaborated with his wife, Renee Orin. She passed away in 2000, and Hague followed her on November 12, 2001.
The next time you enjoy How the Grinch Stole Christmas, say a little thanks to Mr. Shorofsky.
On more than one occasion, Townes Van Zandt made what seemed like an odd choice in performing an Elvis Presley song about a shrimp.
At more than one performance, the great singer-songwriter Townes Van Zandt covered a song about a shrimp. I do not know if he ever fully explained why he chose to perform “Song of the Shrimp” (aka “Shrimp Song”). At first, the selection seems an odd choice. Elvis Presley sang the unusual song in the 1962 film Girls! Girls! Girls! Why would Van Zandt choose what seems like one of the throwaway Elvis movie songs from a lightweight musical?
Perhaps it was part of a joke to Van Zandt. He famously had a dark sense of humor that came through in his songs, many of which are about death. And “Song of the Shrimp” is funny, not just for being a sea shanty originally heard from Elvis. The song also finds humor in a shrimp’s boast that will most likely lead to his own death.
Townes Van Zandt did seem to recognize that “Song of the Shrimp” was an unusual song choice for him. He even cracks up while performing the song on the live recording Live at McCabe’s. By contrast, when he once performed another song about an animal that Elvis Presley also recorded, the song was “Old Shep.” And instead of invoking laughter the song about a dog’s death seemed to make Van Zandt choke up.
The Shrimp’s Story
“Song of the Shrimp,” written by Roy C. Bennett and Sid Tepper, tells the story of a little shrimp saying farewell to his parents. He plans to jump into a shrimp boat net to catch a ride to Louisiana where he can come out of his shell.
The song is a parable about the young leaving their parents to go off on their own adventures, facing their own dangers. The twist is that we know the shrimp’s adventure most likely will end with him being served in a restaurant in New Orleans. But the shrimp does not know that.
Goodbye mama shrimp, papa shake my hand; Here come the shrimper for to take me to Louisian’; Here come the shrimper for to take me to Louisian’.
Townes performed the song as early as October 1990, with his version of “The Shrimp Song” appearing on the live albumLive in Berlin: Rain on a Conga Drum(1991). Townes Van Zandt recorded the version below live at McCabe’s Guitar Shop in Santa Monica, California on February 10, 1995.
Elvis’s Movie Song
“Song of the Shrimp” is often cited as illustrating the fact that Elvis was lost in a musical wasteland during his movie-making 1960’s. In the abstract, it is somewhat shocking that the man who contributed so much to the rebellious birth of rock and roll ended up singing a ditty about a shrimp in a film called Girls! Girls! Girls!
But on the other hand, the song fits the scene in the movie. After all, it appears in a musical film. Elvis did not choose the song for a rock and roll record.
In the film, Presley sings the song aboard a fishing boat. The sound of the song and the setting remind one of an old sea shanty. In other words, it fits the movie. And, as Townes Van Zandt knew, it is a funny song.
Other Versions
There does not appear to be a large number of covers of “Song of the Shrimp,” for understandable reasons, I suppose. Not everyone has the sense of humor that Townes Van Zandt had. A few less famous covers appear on YouTube, including one with a ukulele by German artists Preslisa And Körnel Parka Twins and one by Lowlands (feat. No Good Sister, Maurizio Gnola Glielmo).
But another well-known artist who recognized the humor in “Song of the Shrimp” was Frank Black, aka Black Francis (formerly of the Pixies). He came to the song through Van Zandt’s version, which Black described to Uncut magazine as “a really deconstructed but very entertaining version.”
Black recorded his own version of the song, which appeared on his album Honeycomb (2005). Although he originally started playing a live acoustic version of “Song of the Shrimp,” the version he ultimately recorded sounds the most modern of all of the recordings. In it, Black takes Van Zandt’s deconstruction and finds a groove beyond the song’s sea shanty origins. Check out Frank Black’s version:
Whatever happened to the little shrimp, his legendary tale has gone into history as having been recounted by some very talented musicians.
