A classic midnight movie in every sense of the term, Tod Browning's Freaks (1932) is the sort of (then) obscure horror film shown on late-night TV beginning in the 1950s; in the 1970s and early 1980s it was a staple of midnight screenings at theaters around the U.S.^[1]

The term midnight movie is rooted in the practice that emerged in the 1950s of local television stations around the United States airing low-budget genre films as late-night programming, often with a host delivering ironic asides. As a cinematic phenomenon, the midnight screening of offbeat movies began in the early 1970s in a few urban centers, particularly New York City, eventually spreading across the country. The screening of nonmainstream pictures at midnight was aimed at building a cult film audience, encouraging repeat viewing and social interaction in what was originally a countercultural setting. The national success of The Rocky Horror Picture Show and the changing economics of the film exhibition industry altered the nature of the midnight movie phenomenon; as its association with broader trends of cultural and political opposition dwindled in the 1980s, the midnight movie became a more purely camp experience—in effect, bringing it closer to the television form that shares its name. The term midnight movie is now often used in two different, though related, ways: as a synonym for B movie, reflecting the relative cheapness characteristic of late-night movies both theatrically and on TV, and as a synonym for cult film.^[2]

History[link]

On television[link]

In 1953, the Screen Actors Guild agreed to a residuals payment plan that greatly facilitated the distribution of B movies to television.^[3] A number of local television stations around the United States soon began showing inexpensive genre films in late-night slots. In the spring of 1954, Los Angeles TV station KABC expanded on the concept by having an appropriately offbeat host introduce the films: for a year on Saturday nights, The Vampira Show, with Maila Nurmi in her newly adopted persona of a sexy bloodsucker ("Your pin-down girl"), presented low-budget movies with black humor and a low-cut black dress. The show—which ran at midnight for four weeks before shifting to 11 p.m. and, later, 10:30—aired horror pictures like Devil Bat's Daughter and Strangler of the Swamp and suspense films such as Murder by Invitation, The Charge Is Murder, and Apology for Murder.^[4] The format was echoed by stations across the country, who began showing their late-night B movies with in-character hosts such as Zacherley and Morgus the Magnificent offering ironic interjections.

A quarter-century later, Cassandra Peterson established a persona that was essentially a ditzier, more buxom version of Vampira. As Elvira, Mistress of the Dark, Peterson became the most popular host in the arena of the TV midnight movie. Starting at L.A.'s KHJ-TV in 1981, Elvira's Movie Macabre was soon being syndicated nationally; Peterson presented mostly cut-rate horror films, interrupted on a regular basis for tongue-in-cheek commentary.^[6] Some local stations aired the Movie Macabre package in late-night slots. Others showed it during prime time on weekend nights; after a break for the local news, another genre film—a literal midnight movie—might follow, resulting in such virtual double bills as Dr. Heckyl & Mr. Hype and The Night Evelyn Came Out of the Grave.^[7] USA Network launched a midnight movie package in 1986—Up All Night, which showed mainly horror and soft-core sexploitation films, ran until 1998. In 1993, Buffalo's WKBW-TV began airing a late-night hosted mix of low-budget genre movies and foreign art films, Off Beat Cinema, that was picked up by several local stations around the United States and most recently by the Retro Television Network. In the 2000s, horror-oriented late-night movie programming has disappeared from many broadcast stations, though B pictures, mostly of a melodramatic nature, are still widely used in post–prime time slots. The small America One broadcast network distributes the Macabre Theatre movie package hosted by Butch Patrick, known for his portrayal of Eddie Munster on the 1960s show The Munsters. In 2006, Turner Classic Movies began airing cult films as part of its new late-night series, TCM Underground.^[8]

In the cinema[link]

Since at least as far back as the 1930s, exploitation films had sometimes been presented at midnight screenings, usually as part of independent roadshow operations.^[9] In 1957, Hammer Films' The Curse of Frankenstein set off a spate of midnight presentations.^[10] What film qualifies as the first true midnight movie in the sense of the term that emerged in the 1970s remains an open question. Critic Jennifer M. Wood points to the Palace Theater in San Francisco's North Beach district where, in 1968, San Francisco Art Institute graduates Michael Wiese and Steven Arnold, after a sellout screening of their Dalí-esque thesis film Messages, Messages, were invited to program offbeat films at midnight.^[11] Author Gary Lachman claims that Kenneth Anger's short Invocation of My Demon Brother (1969), a mélange of occult symbology intercut with and superimposed on images from a Rolling Stones concert, "inaugurat[ed] the midnight movie cult at the Elgin Theatre."^[12] The Elgin, in New York City's Chelsea neighborhood, would soon become famous as a midnight venue when it gave the U.S. premiere of a very unusual Mexican movie directed and written by a rather Dalí-esque Chilean.

The movie generally recognized as igniting the theatrical midnight film movement is Alejandro Jodorowsky's surrealist El Topo, which opened in December 1970 at the Elgin. Playing with the conventions of the spaghetti Western, the film was described by one newspaper critic as "full of tests and riddles" and "more phony gore than maybe 20 years of The Wild Bunch."^[13] El Topo regularly sold out every night for months, with many fans returning on a weekly basis. It ran at the theater through June 1971, until at the prompting of John Lennon—who was reported to have seen the film at least three times—Beatles manager Allen Klein purchased the film through his ABKCO film company and gave it a relatively orthodox rerelease.^[14] The Elgin soon came up with another midnight hit in Peter Bogdanovich's spree-killer thriller Targets (1968), featuring one of the last performances by horror movie mainstay Boris Karloff and a tale that resonated with the assassinations and other political violence of recent years. By November 1971, four Manhattan theaters beside the Elgin were featuring regularly scheduled midnight movies: the St. Marks (Viva La Muerte, a blast of surrealism in the Franco-Spanish tradition of Luis Buñuel and another Lennon favorite), the Waverly (Equinox, which had just replaced Night of the Living Dead), the Bijou (both Freaks and Night of the Living Dead), and the Olympia (Macunaíma, a Brazilian political black comedy).^[15] Equinox (1970) and Night of the Living Dead (1968), both low-budget horror pictures, demonstrate the ties between the old, TV brand of midnight movie and the newer phenomenon. George A. Romero's zombie masterpiece, in particular, highlights the differences: produced completely outside of the organized studio system, it has a subversive posture evident throughout and especially in its conclusion, an unmistakable allegory of a racist lynching.^[16]

Shot over the winter of 1971–72, John Waters's "filth epic" Pink Flamingos, featuring incest and coprophagia, became the best known of a group of campy midnight films focusing on sexual perversions and fetishism.^[18] Filmed on weekends in Waters's hometown of Baltimore, with a mile-long extension cord as a power conduit, it was also crucial in inspiring the growth of the independent film movement.^[19] In 1973, the Elgin Theater started midnight screenings of both Pink Flamingos and a crime drama from Jamaica with a remarkable soundtrack. In its mainstream release, The Harder They Come (1972) had been a flop, panned by critics after its U.S. distributor, Roger Corman's New World Pictures, marketed it as a blaxploitation picture. Rereleased as a midnight film, it screened around the country for six years, helping spur the popularity of reggae in the United States. While the midnight-movie potential of certain films was recognized only some time after they opened, a number during this period were distributed to take advantage of the market from the beginning—in 1973, for instance, Broken Goddess, Dragula, The White Whore and the Bit Player, and Elevator Girls in Bondage (as well as Pink Flamingos) had their New York premieres at midnight screenings.^[20] In 1974, midnight opener Flesh Gordon evidenced how the phenomenon lent itself to flirtations with pornography.

Around this time, the black comedy Harold and Maude (1971) became the first major Hollywood studio movie of the era to develop a substantial cult audience of repeat viewers; though apparently it was not picked up by much of the midnight movie circuit during the 1970s, it subsequently became a late show staple as the phenomenon turned more to camp revivals.^[21] The midnight screening phenomenon was spreading around the country. In Milwaukee, it began in May 1974, spurred by the sales manager of a local radio station who had already successfully sponsored such screenings in St. Louis. By the following February, four Milwaukee theaters were regularly showing midnight films, and the Marcus chain, the owner of one, had brought the concept to its theaters in four other Midwestern cities. "Films that feature rock concerts draw big", Boxoffice reported, "as do those dealing with outer space and fantasy". The trade paper noted one popular midnight film by name: Alice's Restaurant (1969), a comedy with political overtones starring folk singer Arlo Guthrie.^[22]

On the midnight following April Fool's Day 1976, The Rocky Horror Picture Show, which had flopped on initial release the year before, opened at the Waverly Theater, a leading midnight movie venue in New York's Greenwich Village. Midnight screenings of the film soon became a national sensation, amassing a cult following all over the United States. Every Friday and Saturday night, audience members would talk back to the screen, dress up as characters in the film, and act out scenes complete with props.^[24] Where the social aspect had always been a part of the midnight movie's attraction, with Rocky Horror in an exaggerated way it became the attraction. By summer 1979, the film was playing on weekend midnights in twenty-odd suburban theaters in the New York region alone; 20th Century Fox had approximately two hundred prints of the movie in circulation for midnight shows around the country.^[25] Beginning in 1978, the Waverly developed another midnight success that was much smaller commercially, but more significant artistically: Eraserhead, originally distributed the previous year. David Lynch's feature debut, a model of shoestring surrealism, reaffirmed the midnight movie's most central traditions.

The commercial viability of the sort of big-city arthouses that launched outsider pictures for the midnight movie circuit began to decline in the late 1970s as broad social and economic shifts weakened their countercultural base. Leading midnight movie venues were beginning to fold as early as 1977—that year, New York's Bijou switched back permanently to the live entertainment for which it had been built, and the Elgin, after a brief run with gay porn, shut down completely.^[26] In succeeding years, the popularization of the VCR and the expansion of movieviewing possibilities on cable television meant the death of many additional independent theaters. While Rocky Horror soldiered on, by then a phenomenon unto itself, and new films like The Warriors (1979), The Gods Must Be Crazy (1980), The Evil Dead (1981), Heavy Metal (1981), and Pink Floyd The Wall (1982)—all from mainstream distributors—were picked up by the midnight movie circuit, the core of exhibitors that energized the movement was disappearing. By the time the fabled Orson Welles Cinema in Cambridge, Massachusetts, shut its doors after a fire in 1986, the days of the theatrical midnight movie as a significant countercultural phenomenon were already past.

In 1988, the midnight movie experience was institutionalized in a new manner with the introduction of the Toronto International Film Festival's nightly Midnight Madness section.^[29] In the years since, new or recent films still occasionally emerge as midnight movie "hits" on the circuit of theaters that continue to show them. The most successful of the 1990s generation was the Australian drag queen road saga The Adventures of Priscilla, Queen of the Desert (1994). One of the theaters to show it regularly at midnight was New York's Waverly (also now closed), where Rocky Horror had played for a house record ninety-five weeks. A celebrated episode of television's The Drew Carey Show features a song-and-dance battle between Rocky Horror fans (led by Drew Carey) and Priscilla fans (led by Mimi Bobeck).

Since the turn of the millennium, the most notable success among newly minted midnight movies has been Donnie Darko (2001). Older films are also popular on the circuit, appreciated largely in an imposed camp fashion—a midnight movie tradition that goes back to the 1972 revival of the hectoring anti-drug movie Reefer Madness (1938).^[30] (Tod Browning's 1932 horror classic Freaks, the original midnight movie revival, is both too dark and too sociologically acute to readily consume as camp.) Where the irony with which Reefer Madness was adopted as a midnight favorite had its roots in a countercultural sensibility, in the latter's place there is now the parodoxical element of nostalgia: the leading revivals on the circuit currently include the crème de la crème of the John Hughes oeuvre—The Breakfast Club (1985), Pretty in Pink (1986), and Ferris Bueller's Day Off (1986)—and the preteen adventure film The Goonies (1985).^[31] As of late 2006, Rocky Horror itself continues to play on a weekly basis at thirty-two venues around the country, and at least once a month at about two dozen others.^[32]

Two popular midnight movies made during the phenomenon's heyday have been selected to the National Film Registry: Eraserhead (inducted 2004) and The Rocky Horror Picture Show (inducted 2005). Midnight movie staples Freaks (1932) and Night of the Living Dead (1968) were inducted in 1994 and 1997 respectively. Harold and Maude, a cult film before it was adopted as a midnight movie, was also inducted in 1997.

Midnight releases[link]

A distantly related phenomenon is the practice of premiering blockbuster films (e.g., the Lord of the Rings series, the Pirates of the Caribbean sequels, the Star Wars prequels, The Twilight Saga, the Spider-Man, Batman, and Harry Potter series) at midnight or 12:01 a.m. of the official release date. In 2011, Harry Potter and the Deathly Hallows: Part 2 set a new record for biggest midnight opening with over $43 million in gross box office receipts, surpassing The Twilight Saga: Eclipse.^[33]

See also[link]

• Exploitation film
• Video nasty
• Midnight Movies: From the Margin to the Mainstream
• Mystery Science Theater 3000

References[link]

Sources[link]

Published

• Beale, Lewis (2005). "A New Time for Midnight Movies," International Herald Tribune (June 22) (available online).
• Bryant, Edward (2005). "Fantasy and Horror in the Media: 2004," in The Year's Best Fantasy and Horror, Eighteenth Annual Collection, ed. Ellen Datlow, Gavin J. Grant, and Kelly Link (New York: St. Martin's Griffin), pp. lxxiii–xcii. ISBN 0-312-34194-6
• Cagle, Jess (1990). "Video News: News & Notes," Entertainment Weekly (August 3) (available online).
• Canby, Vincent (1972). "Scarecrow in a Garden of Cucumbers: Holly Woodlawn Cast as Small-Town Girl," New York Times (March 17) (available online).
• Conrich, Ian (2006). "Musical Performance and the Cult Film Experience," in Film's Musical Moments, ed. Ian Conrich and Estella Tincknell (Edinburgh: Edinburgh University Press), pp. 115–131. ISBN 0-7486-2345-0
• Corliss, Richard, and Susan Catto (2007). "The Freaks Come Out at Night," Time (September 12) (available online).
• Greenspun, Roger (1971). "El Topo Emerges: Jodorowsky's Feature Begins Regular Run," New York Times (November 5) (available online).
• Heffernan, Kevin (2004). Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953–1968 (Durham, N.C., and London: Duke University Press). ISBN 0-8223-3215-9
• Hoberman, J., and Jonathan Rosenbaum (1983). Midnight Movies (New York: Da Capo Press). ISBN 0-306-80433-6
• Hutchings, Peter (2004). The Horror Film (Ann Arbor: University of Michigan Press). ISBN 0-582-43794-6
• Kaufelt, David A. (1979). Midnight Movies (New York: Delacorte). ISBN 0-385-28608-2
• Lachman, Gary (2001). Turn Off Your Mind: The Mystic Sixties and the Dark Side of the Age of Aquarius (New York: Disinformation). ISBN 0-88064-278-5
• Levy, Emanuel (1999). Cinema of Outsiders: The Rise of American Independent Film (New York and London: New York University Press). ISBN 0-8147-5123-7
• Patterson, John (2007). "The Weirdo Element," Guardian (March 2) (available online).
• Schaefer, Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959 (Durham and London: Duke University Press). ISBN 0-8223-2374-5
• Waters, John (2006). "The Kindness of a Stranger," New York Times Book Review (November 19).
• Wood, Jennifer M. (2004). "25 Great Reasons to Stay Up Late," MovieMaker no. 55 (summer) (available online).

Online—Authored

• Burnett, Adam (2004). "Donnie Darko: The Director's Cut: The Strange Afterlife of an Indie Cult Film", indieWIRE (July 22).
• Gibron, Bill (2006). "The Boob Tube: Elvira, Mistress of the Dark and Movie Macabre", PopMatters (October 31).
• Gray, Brandon (2005). "'Sith' Draws $16.5M at Midnight", Box Office Mojo (May 19).

Online—Archival

• Cinema Treasures essential resource for information on classic movie theaters
• Milwaukee Horror Hosts historical site administered by Dick Nitelinger
• Pink Flamingos! official Fine Line Features site
• RockyHorror.com official Rocky Horror Picture Show fansite
• TCM Underground official Turner Classic Movies site

Midnight Movies were an indie rock band formed in Los Angeles, California in 2002. Composed of Gena Olivier (vocals, drums), Larry Schemel (guitar), and Jason Hammons (keyboards, guitar), the indie rock trio quickly crafted a moody and stylish sound. They became a major face on the L.A. music scene within a year, and earned a nomination for Best New Artist at the L.A. Weekly Music Awards in May 2003. Just as their self-released six-song EP arrived, Midnight Movies received another nomination for Best Pop/Rock band in spring 2004. Midnight Movies' self-titled studio-length debut was released on Emperor Norton the following August. The group resurfaced in 2007 with Lion the Girl, which featured new bassist Ryan Wood and drummer Sandra Vu, with Olivier handling keyboard and vocal duties and production by Steve Fisk. The band's final show was at Spaceland (now The Satellite) on June 16, 2008^[2] and have since broken up to pursue other projects or to spend time with family.

Musical style[link]

The sound of Midnight Movies conjures a certain Los Angeles - but it's no sun-drenched, glamorized metropolis. This is a decidedly noir L.A., replete with mystery, desire and yearning. On Lion the Girl (New Line Records), their second full-length release, the band explores haunting new vistas and back alleys of the soul, expanding the reach of their acclaimed "psychedelic pop" with an expanded lineup and more expansive songwriting.

Gena Olivier's elegant, beguiling vocals and Larry Schemel's buzzingly urgent guitar lines are, as ever, prominent sonic elements. But two new members, bassist Ryan Wood and drummer Sandra Vu, add considerably to the outfit's musical reach.^[1]

Band members[link]

Current members

• Gena Olivier – Lead Vocals, Organ, Drums
• Larry Schemel – Guitar
• Sandra Vu – Drums, Flute, Vocals, Keyboard
• Ryan Wood – Bass, Keyboards, Guitar

Former members

• Jason Hammons – Keyboards, Guitar

Discography[link]

Albums[link]

• 2004: Midnight Movies (Rykodisc) ^[1]
• 2007: Lion The Girl (New Line Records) ^[1]

EP[link]

• 2003: Strange Design EP (Leftwing Recordings) ^[1]
• 2008: Nights EP (New Line Records) ^[1]

Singles[link]

• 2004: Mirage (Rykodisc) ^[1]
• 2004: Persimmon Tree (Rykodisc) ^[1]
• 2006: Patient Eye (New Line Records) ^[1]

1. ^ ^{a b c d e f g h i} [1], additional text.
2. ^ "Soundcheck: Midnight Movies @ Spaceland, 6/18/08". Soundcheck: Midnight Movies @ Spaceland, 6/18/08. http://laist.com/2008/07/08/midnight_movies.php. 

"Beds Are Burning" is a 1987/1988 worldwide hit single^[1] by Australian rock band Midnight Oil, the first track from their album Diesel and Dust. This song was the second from the album to be released as a single, and is among the band's best-known songs outside Australia.

It reached No. 1 in the New Zealand and South African charts, No. 2 in Canada, No. 3 in the Netherlands Top 40, No. 5 in the France Top 50, No. 6 in the United Kingdom charts, No. 11 in Ireland, No. 17 in the U.S. Billboard Hot 100, in Sweden and Denmark.

It is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.

It is named #95 on VH1's 100 Greatest One Hit Wonders of the 80s and #97 by the Triple J Hottest 100 Of All Time in 2009.

In May 2001, Australasian Performing Right Association (APRA) celebrated its 75th anniversary by naming the Best Australian Songs of all time, as decided by a 100 strong industry panel. "Beds Are Burning" was declared third behind the Easybeats' "Friday on My Mind" and Daddy Cool's "Eagle Rock".^[2]

Meaning[link]

"Beds Are Burning" is a political song about giving native Australian lands back to the Pintupi, who were among the very last people to come in from the desert. These 'last contact' people began moving from the Gibson Desert to settlements and missions in the 1930s. More were forcibly moved during the 1950s and 1960s to the Papunya settlement. In 1981 they left to return to their own country and established the Kintore community which is nestled in the picturesque Kintore Ranges, surrounded by Mulga and Spinifex country. It is now a thriving little community with a population of about 400. (Kintore and the town of Yuendumu are mentioned by name in the lyrics.)

Midnight Oil performed the song in front of a world audience of millions at the closing ceremony of the 2000 Sydney Olympics. The whole band were dressed in black, with the word "Sorry" printed conspicuously on their clothes.

Other appearances[link]

• Live at the World Café: Vol. 15 - Handcrafted (2002, World Café)

Cover versions[link]

In 2002, Heaven's Cry covered this song on their "Primal Power Addiction" album.

In 2004, the German Eurodance group Novaspace covered this song. In 2006, Pearl Jam covered the song as a tag to their hit song "Daughter" during the Australian leg of their tour, in the same year the French metalcore band Black Bomb A released their version of it on their album "One Sound Bite to React". In 2008, The Nightwatchman covered the song with Justin Sane and Chris #2 of Anti-Flag at the Sydney & Perth Big Day Out festival, and additionally Billy Bragg at the Adelaide Big Day Out festival in Australia. Gyroscope played the song during the breakdown of their song, "Fast Girl", on their "The Australia Tour" in Aug-Oct 2008.

Former Concrete Blonde frontwoman Johnette Napolitano and Rachel Stamp guitarist Will Crewdson posted a version of the song on their mutual MySpace page^[3] in 2008. Their version is largely faithful to the original, the greatest differences being that in their version the chorus and bridge are less-densely orchestrated than the verses, and some small changes to the lyrics (for example, Napolitano replaces the line "To say fair's fair" with "to pay our share". She then repeats the line in its original place as well).

On October 2, 2009, 60 musicians and celebrities from around the world released a free reworked version to highlight climate change issues ahead of the United Nations' talks in Copenhagen. Singers included Lily Allen, Klaus Meine of the Scorpions, Simon Le Bon from the '80s group Duran Duran, Tyson Ritter of The All-American Rejects, and Bob Geldof. The former UN secretary-general Kofi Annan, Archbishop Desmond Tutu and French actress Marion Cotillard also added their voices to the cover version. The song is part of Global Humanitarian Forum tck tck tck time for climate justice campaign and is a part of the greater "TckTckTck" project,^[4] which aims to draw attention to the urgency of the global warming crisis, by signing a "musical petition" with each download.

References[link]

Joe Satriani
Satriani live in New York in 2010
Background information
Birth name	Joseph Satriani
Also known as	Satch
Born	(1956-07-15) July 15, 1956 (age 55) Westbury, New York, United States
Genres	Rock, instrumental rock, hard rock, blues, heavy metal
Occupations	Musician, songwriter, producer, guitar instructor
Instruments	Guitar, bass, keyboards, vocals, harmonica, banjo, harp
Years active	1970–present
Labels	Sony, Epic, Relativity
Associated acts	Alice Cooper, Mick Jagger, Deep Purple, Steve Vai, G3, Sammy Hagar, Chickenfoot, Jason Becker, Greg Kihn Band
Website	Official website
Notable instruments
Ibanez Joe Satriani Signature model

Joseph "Joe" Satriani (born July 15, 1956) is an American instrumental rock guitarist of Italian origin, multi-instrumentalist and multiple Grammy Award nominee. Early in his career, Satriani worked as a guitar instructor, and some of his former students have achieved fame such as Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan and Alex Skolnick. Satriani has been a driving force in music credited to other musicians throughout his career, as a founder of the G3 tour, as well as performing in various positions with other musicians.

In 1988, Satriani was recruited by Mick Jagger as lead guitarist for Jagger's first solo tour.^[1] In 1994, Satriani was the lead guitarist for Deep Purple.^[2] Satriani worked with a range of guitarists, including Steve Vai, John Petrucci, Eric Johnson, Larry LaLonde, Yngwie Malmsteen, Brian May, Patrick Rondat, Andy Timmons, Paul Gilbert, Adrian Legg, and Robert Fripp through the annual G3 Jam Concerts.^[3] He is currently the lead guitarist for the supergroup Chickenfoot. Since 1988, Satriani has been using his own signature guitar, the Ibanez JS Series, which is sold in music stores worldwide.

Biography[link]

Early life[link]

Satriani was born in Westbury, New York. He was inspired to play guitar at age 14, after hearing of the death of Jimi Hendrix.^[4] He has been said to have heard the news during a football training session, where he confronted his coach and announced that he was quitting to become a guitarist.^[5] In 1974, Satriani studied music with jazz guitarist Billy Bauer and with reclusive jazz pianist Lennie Tristano. The technically demanding Tristano greatly influenced Satriani's playing. Satriani began teaching guitar, with his most notable student at the time being fellow Long Island native Steve Vai. While he was teaching Vai, he was attending Five Towns College for studies in music.

In 1978, Satriani moved to Berkeley, California to pursue a music career. Soon after arriving in California, he resumed teaching. His students included Steve Vai, Kirk Hammett of Metallica, David Bryson of Counting Crows, Kevin Cadogan from Third Eye Blind, Larry LaLonde of Primus / Possessed, Alex Skolnick of Testament, Rick Hunolt (ex-Exodus), Phil Kettner of Lääz Rockit, Geoff Tyson of T-Ride, Charlie Hunter and David Turin.

Music career[link]

Satriani started playing in a San Francisco-based band called the Squares,^[6] where he continued to network and make musical connections (Squares sound man John Cuniberti co-produced his second album). He was invited to join the Greg Kihn Band, who were on the downside of their career, but whose generosity helped Satriani pay off the overwhelming credit card debt from recording his first album.^[7] When his friend and former student Steve Vai gained fame playing with David Lee Roth in 1986, Vai raved about Satriani in several interviews with guitar magazines, including Guitar World magazine.

In 1987, Satriani's second album Surfing with the Alien produced radio hits and was the first all-instrumental release to chart so highly in many years. In 1988 Satriani helped produce the EP The Eyes of Horror for the death metal band Possessed. In 1989, Satriani released the album Flying in a Blue Dream. It was said to be inspired by the death of his father, who died in 1989 during the recording of the album. "One Big Rush" was featured on the soundtrack to the Cameron Crowe movie Say Anything.... "The Forgotten Part II" was featured on a Labatt Blue commercial in Canada in 1993. "Can't Slow Down" featured in a car-chase sequence in the Don Johnson starring show Nash Bridges.

Joe Satriani also sang backing vocals on the self titled Crowded House album. Satriani was a friend of Michel Froom. Neil Finn of Crowded House confirms this in an interview with FlixelPix photographer David Cleland http://www.flixelpix.com/blog/archive-neil-finn-interview/

In 1992, Satriani released The Extremist, his most critically acclaimed and commercially successful album to date. Radio stations across the country picked up "Summer Song," which got a major boost when Sony used it in a major commercial campaign for their Discman portable CD players.^[8] "Cryin'," "Friends," and the title track were regional hits on radio. In late 1993, Satriani joined Deep Purple as a temporary replacement for departed guitarist Ritchie Blackmore during the band's Japanese tour. The concerts were a success, and Satriani was asked to join the band permanently but he declined, having just signed a multi-album solo deal with Sony, and Steve Morse took the guitarist slot in Deep Purple.^[9]

In 1996, Satriani founded the G3, a concert tour intended to feature a trio of guitarists. The original lineup featured Satriani, Vai and Eric Johnson. The G3 tour has continued periodically since its inaugural version, with Satriani the only permanent member. Other guitarists who have performed in G3 include among others: Yngwie Malmsteen, John Petrucci, Kenny Wayne Shepherd, Robert Fripp, Andy Timmons, Uli Jon Roth, Michael Schenker, Adrian Legg, Paul Gilbert, and Steve Lukather. In 1998 Satriani recorded and released Crystal Planet, which went back to a sound reminiscent of his late '80s work. Planet was followed up with Engines of Creation, one of his more experimental works featuring the electronica genre. A pair of shows at the Fillmore in San Francisco were recorded in December 2000 and released as Live in San Francisco, a two-disc live album and DVD.

2000s and future[link]

Satriani playing in Chile, 2003.

Satriani regularly recorded and released evolving music, including Strange Beautiful Music in 2002 and Is There Love in Space? in 2004. In May 2005, Satriani toured India for the first time, playing concerts in Delhi, Kolkata and Mumbai. In 2006, Satriani recorded and released Super Colossal and Satriani Live!, another two-disc live album and DVD recorded May 3, 2006 at the Grove in Anaheim, CA. In 2006, Satriani signed on as an official supporter of Little Kids Rock, a non-profit organization that provides free musical instruments and instruction to children in underserved public schools throughout the U.S.A. Satriani has personally delivered instruments to children in the program through a charity raffle for the organization and, like Steve Vai, sits on its board of directors as an honorary member.

On August 7, 2007 Epic/Legacy Recordings re-released Surfing with the Alien to celebrate the 20th anniversary of its release. This was a two-disc set that includes a remastered album and a DVD of a never-before-seen live show filmed at the Montreux Jazz Festival in 1988.^[10] Satriani's next album Professor Satchafunkilus and the Musterion of Rock, was released on April 1, 2008.^[11] Satriani released a live DVD recording of a concert in Paris titled Live In Paris: I Just Wanna Rock and a companion 2 CD set on February 2, 2010.^[12] In March 2010 Satriani participated with other guitarists in the Experience Hendrix Tribute Tour, performing music written and inspired by Jimi Hendrix.^[13][14]

Joe Satriani with Stu Hamm in Rijnhal, Arnhem, 2008.

On 29 May 2008 it was revealed that Satriani was involved in a new hard rock band called Chickenfoot with former Van Halen members Sammy Hagar and Michael Anthony, and Red Hot Chili Peppers drummer Chad Smith. The band features Hagar on vocals, Satriani on guitar, Anthony on bass and Smith on drums.^[15] Their debut album was released on 5 June 2009.^[16] The first single and video released was the track "Oh Yeah," which was played on the Tonight Show With Conan O'Brien on 5 June 2009. Satriani received a co-writing credit on all the songs on the band's debut album.^[17] Broken Records magazine asked Satriani about his new band, and he enthusiastically mentioned that "it was great fun" and it gives him a "kick in the music bone" to be playing with such great talent. He said it felt quite natural to step back and play more rhythm guitar than solo guitar. Chickenfoot's second album was titled III, and was released on 27 September 2011. Its first single was the track 'Bigfoot'. On its first week of release, it reached a chart position of #9.

In April, Satriani and Chickenfoot voiced themselves in an episode of the animated television series Aqua Teen Hunger Force. In May 2010, Satriani announced he was about to enter the studio to record a solo album, and dates were released for an autumn tour. He also said that demos had been recorded for a second Chickenfoot album. In May 2010, Satriani joined Sound Strike, a movement led by Rage Against the Machine singer Zack de la Rocha protesting Arizona SB1070.^[18][19] As a result, Satriani refuses to perform live in Arizona. Satriani released his 13th studio album Black Swans and Wormhole Wizards, on October 5, 2010.^[20]

On December 4, 2008 Satriani filed a copyright infringement suit against Coldplay in the United States District Court for the Central District of California. Satriani's suit claims that the Coldplay song "Viva la Vida" includes "substantial original portions" of the Satriani song "If I Could Fly" from his 2004 album, Is There Love in Space?. The Coldplay song in question received two Grammy Awards for "Song of the Year."^[21] Coldplay denied the allegation.^[22][23][24] An unspecified settlement was reached between the parties.^[25]

Satriani released the DVD/Blu-ray of his 3D concert film Satchurated: Live in Montreal on April 24th 2012 after its limited showing in theaters. The film was shot in December 2010 in Montreal and was directed by award-winning filmmakers François and Pierre Lamoureux. ^[26] Satchurated is the first Blu-ray concert film available in 3D with Dolby TrueHD 7.1.

Other work[link]

Satriani is credited on many other albums, including guitar duties on shock-rocker Alice Cooper's 1991 album Hey Stoopid, Spinal Tap's 1992 album Break Like the Wind, Blue Öyster Cult's 1988 album Imaginos, band members Stu Hamm and Gregg Bissonette's solo albums. He was credited with singing background vocals on the 1986 debut album by Crowded House. In 2003, he played lead guitar on The Yardbirds's release Birdland. In 2006, he made appearances on tracks for Deep Purple vocalist Ian Gillan's solo CD/DVD dual disc Gillan's Inn.

On Dream Theater's 2007 album Systematic Chaos, Satriani contributed spoken lyrics to the song "Repentance." Satriani contributed a guitar solo to Jordan Rudess' 2004 solo release Rhythm of Time. He composed much of the soundtrack for the racing video game NASCAR 06: Total Team Control and contributed to Sega Rally Championship. He has in feature films, including 2006 Christopher Guest film For Your Consideration as the guitarist in the band that played for the late-night show.^[27] Other films include Moneyball in which he appears as himself playing Star Spangled Banner.

Satriani in 2005

Style and influence[link]

Satriani is considered to be a technically proficient guitarist,^[28] and has been referred to as a guitar virtuoso.^[29][30] Satriani has mastered all performance techniques on electric guitar, including legato, two-handed tapping and arpeggio tapping, volume swells, harmonics and extreme whammy bar effects. During fast passages, Satriani favors a legato technique (achieved primarily through hammer-ons and pull-offs) that yields smooth and flowing runs. He is also adept at other speed-related techniques such as rapid alternate picking and sweep picking. Satriani was influenced by blues-rock guitar icons such as Jimi Hendrix, Eric Clapton, Jimmy Page, Ritchie Blackmore and Jeff Beck,^[2][31] as well as jazz fusion guitarist Allan Holdsworth.^[32] Satriani created his own recognizable style and is an influential guitarist.^[33] Satriani has received 15 Grammy nominations^[34] and has sold over 10 million albums worldwide.^[35]

Equipment[link]

Satriani has endorsed Ibanez's JS Series guitars, and Peavey's JSX amplifier. Both lines were designed specifically as signature products for Satriani. The Ibanez JS1 (the original JS model) was based on, and replaced, the Ibanez 540 Radius model that Satriani first endorsed. Many of his guitars are made by Ibanez, including the JS1000, and JS1200. These guitars typically feature the DiMarzio PAF Pro (which he used up until 1993 in both the neck and bridge positions), the DiMarzio Fred (which he used in the bridge position from 1993 to 2005), and the Mo' Joe and the Paf Joe (which he uses in the bridge and neck positions, respectively, from 2005 to present day).

The JS line of guitars is his signature line with the JS1000, JS1200, JS2400, JSBDG, and JS20th using Ibanez's original Edge double locking tremolo bridge. The JS100 and JS120s both use Ibanez's Edge 3 tremolo bridge. The JS1600 is a fixed bridge guitar with no tremolo system. The guitar he was most associated with during the 90s was a chrome-finished guitar nicknamed "Chrome Boy." This instrument can be seen on the Live in San Francisco DVD. However, the guitar used for most of the concert was in fact a lookalike nicknamed "Pearly," which featured Seymour Duncan Pearly Gates pickups.

Satriani uses a number of other JS models such as the JS double neck model, JS700 (primary axe on the self-titled CD and seen on the 1995 tour "Joe Satriani," which features a fixed bridge, P-90 pickups, and a matching mahogany body and neck), JS6/JS6000 (natural body), JS1 (the original JS model), JS2000 (fixed bridge model), a variety of JS100s, JS1000s and JS1200s with custom paint work, and a large amount of prototype JSs. All double locking bridges have been the original Edge tremolo, not the newer models, which point to a more custom guitar than the "off the shelf" models. Joe played a red 7-string JS model, seen in the "G3 Live in Tokyo" DVD from 2005. He also has a prototype 24-fret version of the JS—now called the JS-2400—which he has used with Chickenfoot. As of late he has used other prototypes featuring a Sustainer or a JS model with three single coil-sized humbucker pickups.

Satriani's guitars are usually equipped with his signature DiMarzio humbucker pickups, Mo' Joe and PAF Joe, although his 24-fret JS model features a Pro Track single coil-sized, humbucker pickup in the neck position. Some of his guitars are still equipped with the pickup models he favored in the past, the DiMarzio FRED and PAF Pro pickups. Satriani has used a wide variety of guitar amps, using Marshall for his main amplifier (notably the limited edition blue coloured 6100 LM model) up until 2001, and his Peavey signature series amps, the Peavey JSX, thereafter.

Satriani in New York, 2010.

The JSX began life as a prototype Peavey XXX and developed into the Joe Satriani signature Peavey model. However he still used distortion pedals with the clean channel rather than the built in od channels. Satriani has used other amplifiers over the years in the studio, such as the Peavey 5150 (used to record the song 'Crystal Planet'), Cornford, and the Mesa/Boogie Mark IIC+ (used to record the song 'Flying in a Blue Dream'), amongst others. He has recently switched to the Marshall JVM series, having used a modified JVM 410H in his Black Swans and Wormhole Wizards tour in 2010 and with Chickenfoot in 2010 and 2011.

These modified JVM Marshall amps were prototypes for a signature amp which was scheduled for release in 2011. The reverb has been replaced by noise gates which cancel any lag when switching channels. The clean channel has been replaced by the clean channel of a 6100 LM model which he likes as an option to use distortion pedals with. The orange od channel and the modern red od channel have been better matched with each other as he still claims to prefer the organic od channels of the JVM amp rather than pedals. The red od channel has been modified to be based more on beefy rock than a nu-metal sound. The fx-loop has been simplified to be serial only.

His effects pedals include the Vox wah, Dunlop Cry Baby wah, RMC Wizard Wah, DigiTech Whammy, BK Butler Tube Driver, BOSS DS-1, BOSS CH-1, BOSS CE-2, BOSS DD-2 and a standard BOSS DD-3 (used together to emulate reverb effects), BOSS BF-3, BOSS OC-2, Barber Burn Drive Unit, Fulltone Deja Vibe, Fulltone Ultimate Octave, and Electro-Harmonix POG (Polyphonic Octave Generator), the latter being featured prominently on the title cut to his 2006 Super Colossal. Satriani has partnered with Planet Waves to create a signature line of guitar picks and guitar straps featuring his sketch art.