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Tapeheads
Original film poster
Directed byBill Fishman
Written byBill Fishman
Peter McCarthy
Produced byPeter McCarthy
Michael Nesmith
Starring
CinematographyBojan Bazelli
Edited byMondo Jenkins
Music byFishbone
Production
company
Distributed byAvenue Pictures[a]
Release dates
  • January 22, 1988 (1988-01-22) (U.S. Film Festival)
  • October 21, 1988 (1988-10-21) (United States)
Running time
93 minutes
CountryUnited States
LanguageEnglish
Budget$3 million[1]
Box office$343,786

Tapeheads is a 1988 comedy film directed by Bill Fishman and starring John Cusack, Tim Robbins, Clu Gulager, Doug McClure, Jessica Walter, Mary Crosby, Sam Moore and Junior Walker. The film was produced by Michael Nesmith, who briefly appears as a bottled water delivery man.

The film premiered at the U.S. Film Festival on January 22, 1988, with De Laurentiis Entertainment Group attached as distributor and a tentative release date of March 1988. However, due to financial concerns, distribution rights reverted to NBC Productions, which sold them to Avenue Pictures. The film was ultimately released on October 21, 1988 and was pulled from theaters only two weeks into its theatrical run. A poll of theater patrons by Avenue concluded that the film's underperformance could be attributed to the company's marketing campaign, which was described as "too hip and selective" and aimed to promote the film as more of a slapstick comedy.[1]

Plot

[edit]

After losing their jobs as security guards, best friends Ivan and Josh start a music video production company called "Video Aces". When they meet their childhood heroes, 1970s soul duo Swanky Modes, Ivan and Josh concoct a scheme to give them a new audience by hijacking a Menudo concert, getting them to perform in Menudo's place, and broadcasting it live across the country on a television satellite hook-up.

The movie also features a fake ad spot for a real Los Angeles restaurant, Roscoe's House of Chicken 'n Waffles. Notable appearances in the film include: Mary Crosby, of the soap opera Dallas; character actors Clu Gulager and Doug McClure; football player Lyle Alzado; 1960s actress Connie Stevens; Soul Train host Don Cornelius; singer Courtney Love; Navasota singer King Cotton; original "Human Beat-Box" Doug E. Fresh; ska-punk band Fishbone (who also perform the incidental score) as "Ranchbone"; The Dead Boys and The Lords of the New Church singer Stiv Bators; Ted Nugent; "Weird Al" Yankovic; and Dead Kennedys singer Jello Biafra, in a cameo as an FBI agent.

Cast

[edit]

Soundtrack

[edit]

The music supervisor for the film was Nigel Harrison. The soundtrack album was released on Island Records.

No.TitleArtistLength
1."Ordinary Man"Swanky Modes (Sam Moore and Junior Walker)2:53
2."Roscoe's Rap"King Cotton4:26
3."Surfer's Love Chant"Bo Diddley4:56
4."You Hooked Me Baby"Swanky Modes3:32
5."Betcher Bottom Dollar"Swanky Modes2:20
6."Baby Doll (Sung in Swedish)"Devo3:36
7."Slow Bus A-Movin' (Howard's Beach Party)"Fishbone ("Ranchbone")2:39
8."Audience for My Pain"Swanky Modes4:22
9."Language of Love"Swanky Modes3:00
10."Ordinary Man (Can't Keep a Good Man Down Mix)"Swanky Modes4:19

The film's soundtrack (but not the soundtrack album) includes the song "Repave America" written and performed by Tim Robbins, credited as Bob Roberts four years before that movie was released. "Repave America" also appeared in the Bob Roberts soundtrack with the lyrics slightly altered to become "Retake America".

Reception

[edit]

On the review aggregator website Rotten Tomatoes, 60% of 15 critics' reviews are positive, with an average rating of 5.6/10.[2]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tapeheads

View on Grokipedia
from Grokipedia
Tapeheads is a 1988 American directed by Bill Fishman, who co-wrote the with Peter McCarthy based on a story by Fishman, McCarthy, Jim Herzfeld, and Ryan Rowe. The film stars as Ivan Alexeev and as Josh Tager, two unemployed security guards who launch a called Video Aces and stumble into unexpected success amid chaotic encounters with eccentric characters in the industry. Produced by former Monkee Mike Nesmith through his Pacific Arts company, it satirizes the scene of the era with a runtime of 93 minutes and features genres of and music. The plot follows and as they partner with the faded R&B group to produce a comeback concert video, while navigating interference from a conservative politician and absurd production mishaps, including surreal cameos by celebrities like , , and . Supporting cast includes as the duo's opportunistic manager Mo Fuzz, as the politician Senator Norman Mart, as the politician's wife, and in a comedic role. Released on October 21, 1988, by Avenue Pictures, Tapeheads received mixed reviews, earning a 60% approval rating from critics on based on 15 reviews, with praise for its energetic performances but criticism for its uneven satire. Audience reception has been similarly divided, with a 46% score from over 2,500 users, though it has developed a for its quirky humor and .

Story and Characters

Plot

Ivan Alexeev and Josh Tager, lifelong friends working as night security guards in , are fired after they repurpose the building's surveillance cameras to film an unauthorized during their shift. Undaunted by their unemployment, the duo channels their passion for music videos into starting their own production company, Video Aces, operating out of a rundown warehouse. They secure their first gigs on spec, including a surreal commercial for Roscoe's House of featuring a rap performance and a low-budget video for a hot new Scandinavian group touring , which they fund themselves despite vague promises of payment from promoter Mo Fuzz. As Video Aces gains a quirky reputation in the cutthroat , Ivan and Josh set their sights on reviving the career of , the duo they idolized as children, rebranding them as the more marketable "Hit Men." They produce a series of absurd, over-the-top music videos for the group, incorporating cameos from musicians like during shoots that blend retro with 1980s excess. However, rivalries emerge with industry insiders like Mo Fuzz, who undercuts their deals, and personal mishaps plague their progress, including a botched taping of a client's "living will" that turns into a video when the subject dies mid-recording. The duo's ambitions peak with a high-stakes scheme to hijack a live satellite broadcast of a Menudo concert at the Los Angeles Forum, sneaking Swanky Modes onstage in place of the teen pop group to expose their music to a massive young audience. Paralleling this, they unwittingly acquire compromising footage of presidential candidate Senator Norman Mart engaged in bizarre sexual activities, sparking a blackmail plot involving Mart's aide and leading to chases, a shootout, and near-collapse of their operations. The ensuing chaos from the broadcast mishap and industry betrayals threatens Video Aces' survival, but Ivan and Josh's ingenuity and loyalty ultimately lead to redemption, securing Swanky Modes' comeback and their own foothold in the business.

Cast

The principal cast of Tapeheads features as Ivan Alexeev, an ambitious aspiring music video producer navigating the cutthroat industry, and as his best friend Josh Tager, a similarly eager novice filmmaker who joins him in their entrepreneurial venture. Supporting the leads are as Samantha Gregory, a key figure in the protagonists' professional circle; as Senator Norman Mart, a politically connected antagonist; as Sid Tager, Josh's father; as Kay Mart, the politician's wife; as June Tager, Josh's overbearing mother; and as Mo Fuzz, the duo's opportunistic manager. Additionally, the film showcases as Billy Diamond and as Lester Diamond, the Swanky Modes soul duo and clients of the main characters who represent the authentic musical talent at the story's heart. The ensemble is enriched by a roster of notable cameos from musicians and celebrities, underscoring the film's satirical take on the music world. These include as a punk girl, as a bombastic rock star playing himself, "Weird Al" Yankovic as a harried caterer, as a shadowy CIA agent, as himself performing in a musical sequence, as a water delivery guy, in a brief comedic bit, as a rapper, and NFL player as a bodyguard.

Production

Development

Tapeheads marked the feature film debut of director Bill Fishman, a veteran music video director whose work in the burgeoning 1980s industry inspired the project's satirical take on MTV culture and the music video boom. Fishman co-wrote the initial script with producer Peter McCarthy, drawing from their experiences in the fast-paced, often absurd world of video production, while additional story contributions came from Jim Herzfeld and Ryan Rowe. The concept originated as a lowbrow comedy skewering the excesses of the music video scene, with Fishman leveraging his background directing clips for artists such as the and to infuse authenticity into the narrative. Executive producer , best known as a member of and an early innovator in music videos through his 1981 video album , secured financing for the film under his Pacific Arts Pictures banner, obtaining a budget of approximately $3 million to $4 million with distribution support from . Nesmith's involvement stemmed from his interest in offbeat comedies, having previously produced films like Repo Man (1984), and he played a cameo role as a bottled water delivery man. The project was formally announced in May 1986, with pre-production focusing on assembling a team to capture the chaotic energy of the era's media landscape. Casting emphasized comedic synergy, with and selected as the leads—Ivan and Josh—due to their proven timing in youth-oriented comedies like Better Off Dead (1985) for Cusack and (1986) for Robbins; Cusack's agent reportedly initiated their pairing to anchor the film's buddy dynamic. Nesmith's extensive connections facilitated the recruitment of high-profile cameos, including musicians such as (who also composed the score), , and , enhancing the satire with authentic figures without derailing the central plot. The script evolved through rewrites to amplify its absurd humor, initially centered on a straightforward send-up of MTV's glossy superficiality but incorporating escalating surreal elements, such as a sequence featuring a Swedish synth-pop trio performing a song. These additions during refined the tone, blending media critique with over-the-top gags like Reagan-era political jabs and bizarre commercial parodies, ensuring the film greenlit as a timely, irreverent comedy ready for in early 1987.

Filming

Principal photography for Tapeheads took place from February 2, 1987, to March 1987, primarily in , allowing for an efficient schedule that resulted in the film's 93-minute runtime. The production utilized various urban settings to capture the gritty, industrial vibe of the city's music video scene, including an old brick warehouse at 660 South Myers Street as the protagonists' studio. Simulated concert venues were constructed for key sequences, such as the hijacking of a Menudo performance, enhancing the film's satirical take on the era's pop culture excess. Director Bill Fishman, known for his music video work, employed a low-budget approach influenced by financial constraints of around $3 million, favoring handheld cameras and rapid quick cuts to emulate the frenetic aesthetic of the 1980s. This style not only mirrored the video production world depicted in the story but also addressed technical challenges in replicating the glossy yet chaotic look of contemporary s on a limited schedule. On-set experiences highlighted strong cast chemistry between and , whose natural rapport as the leads Ivan and Josh infused scenes with authentic energy and humor. Improvisational moments arose during cameos from musicians and celebrities like Weird Al Yankovic, , and , adding spontaneous flair to the production's eclectic ensemble dynamic. These interactions contributed to the film's lively, offbeat tone while navigating the logistical demands of coordinating numerous brief appearances.

Music

Soundtrack

The official for Tapeheads, titled Tapeheads Presents Swanky Modes: Original Motion Picture Soundtrack, was released by in 1988 on vinyl, cassette, and CD formats. Executive produced by alongside Bill Fishman, , and Peter McCarthy, the album emphasizes original material from the fictional R&B duo —comprising soul legends of and —while incorporating tracks from a diverse array of artists including , , , and . Nesmith's oversight in assembling this blend of veteran soul performers and emerging new wave/punk acts aligned with the film's intent to lampoon the commercial excesses and stylistic fusions of music videos and industry trends. Music supervision was provided by , the former Blondie bassist, who also composed and produced the album's closing themes. Key tracks highlight the album's satirical edge, such as "Roscoe's Rap" by , a hip-hop infused narrative device, and the instrumental "Tapeheads Theme" by Harrison, evoking synth-driven production tropes. The full track listing is as follows:
No.TitleArtistLength
1Ordinary Man2:53
2Roscoe's Rap4:26
3Surfer's Love Chant4:56
4You Hooked Me Baby3:27
5Betcher Bottom Dollar3:34
6Baby Doll (Sung in Swedish)3:22
7Freddie's Dead5:16
8Bon Bon Vie (Gimme, Gimme)5:10
9Tapeheads Theme3:25
10Tapeheads Theme (Instrumental)3:25
Though praised for its genre-blending energy and contributions from cult-favorite acts, the soundtrack experienced limited commercial performance and did not achieve notable chart placement, mirroring the film's modest reception.

Musical Sequences

The musical sequences in Tapeheads serve as vibrant parodies of MTV aesthetics, employing rapid cuts, garish color palettes, and exaggerated choreography to lampoon the era's commercial excess and superficiality in music . These scenes, integral to the film's satirical edge, mimic the frenetic pacing and visual bombast of contemporary broadcasts while highlighting the of transforming everyday concepts into overproduced spectacles. Key sequences include the absurd promotional videos produced for the , the fictional R&B duo portrayed by and , which blend soulful performances with outlandish visuals to revive their faded careers. One notable example is a chicken-themed rap commercial for Roscoe's Chicken 'n' Waffles, featuring rapper in gold chains while scratching a waffle on a turntable, transforming a fast-food ad into a hyperbolic hip-hop extravaganza that mocks corporate co-optation of urban music styles. Another pivotal sequence is the Cube-Squared video, performed by , where band members in white suits are doused with colorful paint amid chaotic, low-budget effects, satirizing new wave pretensions through slapstick excess. The climactic hijacked broadcast interrupts a Menudo concert, substituting the Swanky Modes' live rendition of their original song "Ordinary Man" to expose industry corruption and propel the protagonists' redemption arc. These sequences advance the narrative by showcasing how improvised videos attract industry attention for the protagonists, and , while underscoring the film's critique of exploitation in the music business; for instance, the Roscoe's commercial secures their first major , and the hijacking culminates in a public unmasking of deceitful power brokers. Original compositions crafted specifically for these scenes, such as the ' "Ordinary Man"—a Motown-infused track written to evoke nostalgic revival—and Devo's "," distinguish them from the broader , emphasizing bespoke absurdity over mainstream hits.

Release

Premiere and Distribution

Tapeheads had its world premiere at the U.S. Film Festival in , on January 22, 1988. A benefit screening followed at the Writer’s Guild Theatre in Beverly Hills on October 19, 1988, supporting the . The film received a in on October 21, 1988. Originally backed and distributed by (DEG), the production faced significant challenges when DEG encountered financial difficulties and filed for bankruptcy in 1988, leading to the collapse of its distribution plans. As a result, domestic distribution rights were acquired by Avenue Pictures, a smaller independent company, which handled the U.S. theatrical release later that year. Marketing efforts for Tapeheads leveraged the rising star power of leads and , alongside the film's numerous music cameos from artists like and , positioning it as a satirical take on the music video industry. Trailers highlighted the film's comedic elements, including its of MTV-style videos and humor. Internationally, distribution was limited, beginning with a screening at the in on September 13, 1988, followed by a theatrical release there on October 21, 1988. Overseas expansion occurred primarily in and during 1989 and 1990, with a theatrical release in on July 11, 1990, and VHS availability in the UK around the same period.

Box Office Performance

Tapeheads was produced on a budget of $3 million. The film opened in limited release on , 1988, across 138 theaters, earning $133,330 in its debut weekend. It ultimately grossed $343,786 domestically, with negligible international returns, failing to recoup its costs at the . The film's commercial underperformance occurred amid a competitive market dominated by major releases such as Big, which grossed $114.6 million, and , which earned $128.8 million. Distribution challenges further hampered its rollout; originally backed by , rights reverted to Productions due to the distributor's financial difficulties before being sold to Avenue Pictures, resulting in a constrained theatrical expansion and no substantial marketing push. While Tapeheads appealed to a niche audience of and enthusiasts, broader market trends favoring blockbuster comedies overshadowed its quirky on the video industry. The limited screen count and absence of wide promotion contributed to its quick fade from theaters after just two weeks in limited release. It experienced minimal theatrical re-releases, including limited runs in on January 13, 1989, and on March 17, 1989, though its availability on later supported emerging cult interest without impacting initial metrics.

Reception

Critical Response

Upon its release in 1988, Tapeheads received mixed reviews from critics, who often praised its energetic performances and satirical intent while critiquing its uneven execution and reliance on clichés. of the awarded the film 1.5 out of 4 stars, describing it as a chaotic assembly of "exhausted clichés" plugged into a thin plot that failed to effectively satirize the music video industry. Similarly, in highlighted the film's "wild and woolly" depiction of as a lawless frontier, appreciating its "frenetic silliness" in send-ups of commercial tricks and the lively chemistry between leads and , but faulted the addition of clichéd intrigue like a subplot for diluting the humor. Aggregate scores reflected this divide, with reporting a 60% approval rating based on 15 reviews and an average score of 5.6/10, underscoring the film's polarizing reception. Common themes in contemporary critiques included admiration for the Cusack-Robbins duo's zany rapport and the fun cameos from musicians like and the , which injected vitality into musical sequences. However, the of the music industry was frequently deemed hit-or-miss, with reviewers noting its bombastic style and over-the-top elements often overshadowed a derivative storyline lacking depth.

Audience and Retrospective Views

Upon its 1988 release, Tapeheads drew a limited initial audience, primarily appealing to niche fans of eccentric comedies through its offbeat humor and satire. The film's quirky style and , including early roles for and , resonated with viewers seeking unconventional laughs amid the era's mainstream fare, though it struggled to break beyond specialized circles. In the and , Tapeheads underwent a positive reevaluation, fueled by increased availability on home media, such as the DVD release from , which introduced it to new generations via video rentals and personal collections. Modern audience metrics reflect this shift: on , it maintains a 5.7/10 rating from over 4,500 users, with many lauding its prescient mockery of culture and excess as ahead of its time. Similarly, Rotten Tomatoes audience score stands at 46% from more than 2,500 ratings, where reviewers often highlight the film's enduring charm despite its uneven pacing. Retrospective analyses have further cemented its status as an underappreciated gem. A 2016 article characterized Tapeheads as "the cult movie that tried too hard," critiquing its overt bid for hipster appeal while praising the satirical bite, standout , and the infectious energy of its leads that keeps the humor fresh decades later. Fan discussions in user sections emphasize for the film's packed roster of cameos—from musicians like to celebrities such as —and the dynamic buddy chemistry between and Robbins, which many credit for elevating the film's anarchic vibe. These elements have sustained interest among 1980s enthusiasts, positioning Tapeheads as a rediscovered oddity that rewards repeat viewings for its bold, unpolished creativity.

Legacy

Cult Following

Despite its initial commercial underperformance, Tapeheads gradually developed a in the 1990s, primarily through widespread availability on rentals and frequent airings on , which exposed it to audiences seeking offbeat 1980s comedies. The film's satirical take on the music video industry and its exaggerated portrayal of excess resonated as a nostalgic of the era's cultural quirks, including neon aesthetics, , and celebrity cameos, appealing to viewers reminiscing about the pre-digital age. This grassroots appreciation helped transform it from a forgotten indie release into a quirky favorite, often praised for its unpolished energy and inventive humor in retrospective reviews. The dedicated fan base has centered on enthusiasts of John 's early career and those nostalgic for 1980s music video culture, with online communities and forums discussing its underappreciated status since the late 1990s. Revival efforts in the 2010s further solidified this following, including planned midnight screening series at venues like the in , aimed at cultivating a live for the film through themed events that highlighted its eccentric charm. These screenings, often tied to broader retrospectives on 1980s cinema, attracted Cusack fans and drew modest but passionate crowds, contributing to the film's enduring word-of-mouth appeal. Home media releases played a crucial role in boosting accessibility and sustaining interest. released a DVD edition on March 13, 2001, which included a bonus soundtrack CD, making it easier for collectors to own and share the film. Subsequent streaming availability on free platforms such as has further democratized access, allowing new generations to discover it without , and correlating with spikes in online viewership and discussions. Among fans, a notable piece of trivia is the film's fake commercial for "Roscoe's House of Chicken 'n Waffles," a ad featuring exaggerated promotion that has circulated widely on and become a beloved within cult comedy circles for its absurd humor and cultural references.

Cameos and Cultural Impact

The cameo appearances in Tapeheads significantly enhanced the film's satirical edge by incorporating real-life musicians and celebrities, lending authenticity to its portrayal of the chaotic music video industry. Notable examples include rock musician as a bombastic rock star, musician "Weird Al" Yankovic playing himself in a self-referential nod to pop culture excess, and hip-hop artist as a record executive, all of which amplified the humor through exaggerated stereotypes of celebrity ego and commercialism. These brief roles, often integrated into absurd sequences, underscored the film's critique of how fame commodifies art, with Nugent's over-the-top performance exemplifying the era's rock excess and Yankovic's presence highlighting as a cultural mirror. The cameos extended to soul icons like of Soul Train as the sleazy label president Mo Fuzz and MTV VJ as a fictional , directly satirizing the crossover between television, music promotion, and racial dynamics in entertainment. By featuring such figures, the film mocked the superficiality of celebrity endorsements and media hype, using their recognizable personas to heighten comedic authenticity without delving into full character arcs. This approach not only poked fun at 1980s celebrity culture but also critiqued the blurring lines between genuine artistry and manufactured stardom prevalent on networks like . Producer Michael Nesmith's involvement further tied the cameos to broader cultural parodies of and 1980s excess, drawing from his background to update showbiz tropes for a video-era audience. Nesmith, a pioneer in music videos through his PopClips series that inspired , infused Tapeheads with fast-cut editing and aesthetics that lampooned the channel's visual bombast and focus on "tits and ass" over substance, as exemplified in scenes demanding superficial content from executives. The film's underground cameos, including punk figures like and , echoed the ' tradition of blending cult musicians for edgy authenticity, influencing its satirical take on how commodified youth rebellion into polished spectacle. In terms of broader influence, Tapeheads bolstered the early careers of leads and , who parlayed their chemistry as aspiring video directors into subsequent roles exploring media satire and underdog ambition. Cusack, fresh from hits like , and Robbins, pre-The Player, used the film to showcase their comedic timing in critiquing commercial art, contributing to their trajectories in 1990s comedies that dissected Hollywood excess. While initial failure limited immediate reach, the movie's cult rediscovery via highlighted its role in presaging parodies of music video culture in later works. A unique element was the integration of real band , who appeared in a cameo as bottled water delivery workers while providing the film's score, including the track "Slow Bus Movin'," blending documentary-style realism with fictional absurdity to ground the in live musical energy. This fusion of authentic performances by emerging acts like with scripted chaos mirrored the DIY ethos of 1980s scenes, emphasizing how Tapeheads captured the era's hybrid of underground grit and mainstream gloss.

References

  1. https://www.imdb.com/title/tt0096223/fullcredits/
  2. https://www.rottentomatoes.com/m/tapeheads
  3. https://www.imdb.com/title/tt0096223/
  4. https://www.rogerebert.com/reviews/tapeheads-1988
  5. https://chud.com/138714/movie-of-the-day-tapeheads-1988/
  6. https://scopophiliamovieblog.com/2022/08/18/tapeheads-1988/
  7. https://dennisschwartzreviews.com/tapeheads/
  8. https://www.denofgeek.com/movies/tapeheads-the-cult-movie-that-tried-too-hard/
  9. https://mutantreviewersmovies.com/2023/04/06/tapeheads-1988-menudo-and-motown/
  10. https://www.signal-watch.com/2015/08/80s-watch-tapeheads-1988-lets-get-into.html
  11. https://www.imdb.com/title/tt0096223/trivia
  12. https://catalog.afi.com/Catalog/moviedetails/59133
  13. https://crookedmarquee.com/tapeheads-and-the-legacy-of-mike-nesmith/
  14. https://www.imdb.com/title/tt0096223/locations/
  15. https://sites.google.com/site/80sfilmlocations/Film-List/tapeheads-1988
  16. https://www.discogs.com/master/607427-Various-Tapeheads-Presents-Swanky-Modes-Original-Motion-Picture-Soundtrack
  17. https://www.discogs.com/release/2937270-Various-Tapeheads-Presents-Swanky-Modes-Original-Motion-Picture-Soundtrack
  18. https://www.discogs.com/release/8766886-Various-Tapeheads-Presents-Swanky-Modes-Original-Motion-Picture-Soundtrack
  19. https://www.latimes.com/archives/la-xpm-1988-10-21-ca-4332-story.html
  20. https://www.nytimes.com/1989/03/17/movies/review-film-pioneers-in-the-wilds-of-commercial-video.html
  21. https://www.washingtonpost.com/archive/lifestyle/1988/10/21/tapeheads-putting-on-the-videos/989661e6-4df6-4e1a-a882-f6b62fff54c5/
  22. https://www.imdb.com/title/tt0096223/releaseinfo/
  23. https://letterboxd.com/film/tapeheads/
  24. https://www.the-numbers.com/market/1988/top-grossing-movies
  25. https://www.the-numbers.com/movie/Tapeheads
  26. https://www.imdb.com/title/tt0096223/reviews/
  27. https://www.blu-ray.com/dvd/Tapeheads-DVD/82533/
  28. https://www.rottentomatoes.com/m/tapeheads/reviews?type=user
  29. https://www.avclub.com/tapeheads-dvd-1798197159
  30. https://www.latimes.com/entertainment/movies/la-xpm-2013-may-04-la-et-mn-ca-new-midnight-movies-20130505-story.html
  31. https://tubitv.com/movies/299593/tapeheads
  32. https://www.youtube.com/watch?v=o9dBiw7xfVU
  33. https://tedium.co/2022/03/04/mike-nesmith-monkees-film-producer-history/
  34. https://lamag.com/music/red-hot-days-fabulous-funky-fishbone/
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