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Geek Vibes Nation
02-07-2025
- Entertainment
- Geek Vibes Nation
'Videoheaven' Review - A Profound And Beautiful Ode To The Video Store
' The video store is a place of hope and anxiety about the future.' It is an ancient establishment in our modern entertainment complex. However, at one time, the institution stood on par with the movie theater itself. A communal face to gather and engage—a sanctum for cinematic curiosity and movie consumption. And yet, now, these one-thought mainstays are relics of history. Eloquently described as a part of the world but no longer a part of ours. Alex Ross Perry's new documentary , Videoheaven , analyzes the video and its place in society. Running for almost three hours, this movie vividly depicts the rise and fall of an industry. Through the use of movie clips, Perry crafts a narrative that is as much about the industry as it is about us—the consumer. In the song Video Killed The Radio Star by the Buggles , the lyrics decry the advent of television as both a natural progression and a regression. More eyes and ears could experience a song, while at the same time, musical talent meant more than simply having the vocal chops. It is a tale as old as time, the advent of new technology replacing the existing stock. It may be challenging to believe in our modern consumer culture, but before 1977, videotapes were not readily available for public consumption. The invention of the VCR heralded a new era in the burgeoning home entertainment industry. Interestingly, in 1980, an estimated 1.9 million homes had VCRs; by the end of the decade, that number had increased to around 64.5 million. If films were available to watch at home, this called for a new industry: Enter the video store. Videoheaven plays like a well-researched essay, complete with calming narration by Maya Hawke. It presents six segments showcasing the video store's spectacular rise and quiet collapse. This story captures the seismic impact on American movie culture, from the mom-and-pop shop on the corner to conglomerates like Blockbuster. Before videos, movie interaction meant going to the theater or watching a TV broadcast. Video stores and movie rentals gave birth to a cottage industry that, for a time, looked impenetrable and unstoppable. Using clips, it places video stories in movies and TV shows, telling a unique, quintessentially American story. This means it is a complex story of hope and existential dread. Six parts make up the narrative of this piece. At the beginning, the film asks the appropriate question in the past tense! What was the Video Store? Before the concept gained mainstream popularity, Hollywood films like David Cronenberg's Videodrome and, more aptly, Brian De Palma's Body Double helped shape the public's perception of the institution. While both films are more nefarious in these exploits, later movies, such as Disconnected , set up video stores as a place for community gathering and a sanctuary for cinematic knowledge. The 1980s are remembered in many ways, but mass consumerism is the most significant and lasting imprint. Everything became more accessible, so people had to have just about everything. Video stores sprang up nationwide, growing rapidly and accomplishing in ten years what had taken movie theaters fifty years to achieve: cultural relevance. At the start of the decade, what might have been a niche marketplace became fodder for mass consumerism and corporatization. We see the turn from mom-and-pop video rentals being the norm to becoming a relic and out of step. Enter the corporate giants that would tower over the industry into the early 21st century. Maya Hawke narrates Alex Ross Perry's Videoheaven. Photo Credit: Cinema Conservancy. Throughout the 1980s and 1990s, video stores experienced their heyday, but like all eras, nothing lasts forever. The film dutifully illustrates the change in tastes and perceptions of the establishment. It was an intersection for community, ritual, and expression. Video stores were vehicles for story and character interactions in countless indie films. However, as the institutions became more prevalent and lost their luster, the locations became nothing more than simple window dressing or plot devices, in large part for nostalgia-driven stories. The film notes how the 2012 film This Means War shows the last video store ever meaningfully captured on screen. The documentary uses eye-catching facts. For example, in 2000, there were approximately 20,000 video stores in the United States, with 5,000 of them being Blockbusters. Of course, today, video stores are like fossils, and there is only one Blockbuster left in existence. As TV killed the radio star, DVD heralded the end of VHS. This media earthquake ultimately contributed to the decline of the video store. The film reminds us of the age-old question we used to ask every time we went to the video store: what do we want to watch? Our tastes and preferences were predicated on discussion or discovery. The video store became a parlor for exchanging ideas and opinions on movies. A person's cinematic identity could be defined by the types of films they rented. In this age, where even physical media is a question, the film poses a more poignant and perhaps unanswerable question: what do we want? The answer is ambiguous and remains up to us, the viewers and consumers. Videoheaven does its thesis by asking what happened to the video store, but this film is not only a documentary. It is an engaging and ultimately tragic account of what happened to a seemingly unstoppable empire. This grand video essay weaves an interlocking narrative commenting on the store's status as a 'socio-cultural hub' and 'consumer mecca.' The film is an engrossing analysis, yes, but the use of clips, coupled with Hawke's narration, makes this not only feel but also play like an obituary. It is a tribute to a part of cinematic history intertwined with the love of movies, as inexplicable as one's taste. The film honors this once mighty institution and makes us mourn for it. Videoheaven is now playing at New York's IFC Center courtesy of Cinema Conservancy. The film will expand to LA's Vidiots on August 6th as part of a larger theatrical rollout.
The Citizen
13-06-2025
- Entertainment
- The Citizen
Draw won't kill the Radio Star
Azzie runner impressed on debut and is expected to overcome wide barrier. Racing on Saturday takes place at Hollywoodbets Scottsville while racing on Sunday takes place at Turffontein. The headliner on Saturday's card is the Grade 3 Tote Derby over 2400m and it sees the likes of top horses Future Swing and Field Marshal take their places. This race is backed up by the Grade 3 Tote Oaks over 2400m and it is another competitive field. We will, of course, be focusing on the Turffontein card and there will be a nine-race card to preview. I have five carded rides on the day and I will be hoping for the best because I feel I have some quality mounts. So, on to Turffontein Sunday when racing takes place on the Standside track. Race 1 is a Juvenile Plate over 1160m and I ride Anchorage who I probably make my best ride on the card and my value bet as well. She is a lovely filly who has given me a really good feel in both outings and I believe with the advantage of receiving weight from the winners, I will be very disappointed if she doesn't win. Versace Onthetrack won a good race last time out and with further natural improvement, she looks to be my main danger. Victory In Orleans was a surprise but impressive winner on debut, but even more impressive was that it was against the colts. She could be anything and a repeat of that will see her in the money. There are several well-bred unraced horses, so watch the betting as well as the canter past for the best guide to their chances. ALSO READ: Underworld plots a Durban July heist Race 2 is a Juvenile Plate over 1160m and I ride Got The Feeling who won a good race on debut, and although this is going to be much tougher, I am hoping that with natural improvement there is more to come and he can run into the money. Jan Van Goyen was extremely impressive on debut and clearly has the potential to be anything. So, a repeat of that performance will see him prove hard to beat. Shadowfax absolutely flew home when finding his feet late in his debut effort. On that performance he clearly has an engine, and he is the immediate danger. Once again there are several well-bred unraced horses, so watch the betting and canter past for the best guide to their chances. Race 3 is a Maiden Plate over 1400m and in this case I hope to disprove the Buggles 14-year-old hit that Video Killed The Radio Star. Radio Star, trained by Mike and Adam Azzie, lines up in this race and I make him my best bet on the card. He was narrowly denied on debut but I was impressed with his turn of foot and although he is drawn out wide, I will be very surprised if he is not able to overcome the draw and win, and in my opinion, he looks to be a banker in all bets. Greenlight Racer returned from a lengthy break last time when running a very respectable race, and if the second run after a rest does not affect him then he is the main danger. Johnny Drama was disappointing last time (based on the betting market) but he steps up in trip immediately and that should suit him. Race 4 is a Maiden Plate for fillies and mares over 1400m and I think Daisy Jones is the filly they all have to beat. Her debut run was very good, and her form of that run sets the standard. Her wide draw is a concern, but she could have the ability to overcome it and win. Japanese Garden goes back around the turn after a decent effort last time out. Her winning turn cannot be far away and she rates the main danger. Green Street is having her third run after a rest and if you ignore her latest performance then she has an each-way chance on her penultimate run. Schipole was extremely green on debut but ran on nicely when finding her feet and she is one for wider bets. ALSO READ: Race Coast off to a fast start Race 5 is a Maiden Plate for fillies and mares over 2000m and I ride Hopscotch who I think is a massive runner and a filly who will love the step up in trip based on her last start. She was finishing her race off well and I think whatever beats me on Sunday will just about win. Into Dancing looks very progressive and she too looks like she will love the step up in trip. As a result, I think she is the filly we have to beat, especially off a good draw this time around. Lava Lamp is always consistent and her winning turn cannot be far away. I do think she might be vulnerable to the younger horses but she should still go into all bets. Race 6 is a Maiden Plate over 2000m and I like the look of Mizzen Sword who is stepping up drastically in distance this time around. He has always given me the impression he would enjoy it and I think he has found a good opportunity this time. Santiago's Pride ran a really good race after a rest last time out and he looks to be the main danger. Future King was disappointing last time out after a decent effort in his penultimate start. He will have to return to that form in order to feature in this race. Enflame is still unexposed and if there is further improvement over the extended trip this time, then he can be right there. Race 7 is a Middle Stakes over 1160m and I ride Night Bomber who was slightly disappointing in his last start. But he is now returning to the sprinting trip, and I think this could make the difference. As a result, I am expecting a very good run. Guy Gibson is having his third run after a rest and comes in to this in really good form, and while this is an open race, I think he is the horse we all have to beat. Chyavana is also having his third run after a rest and this sees a massive drop in class, so a massive run can be expected and he is one for the shortlist. Bob's Your Uncle goes for three in a row and while I am concerned about the drop in trip he should go into wider bets. Passage Of Power is in really good form and he will love the step up in trip. He has to overcome the No 1 draw but if he does, he is a massive runner. Overall, it is a wide-open race so put in as many runners as the budget will allow. Race 8 is a MR 100 Handicap over 1600m and I think Claw is the horse they all have to beat. He is still unexposed and I believe there is still improvement to come, and after a good latest win, off a good draw I believe he can follow up. Grand Crescendo has been somewhat disappointing, but he steps up in trip this time and if he returns to best form, he will be a massive runner. Command Pilot is having his third run after a rest and should come into this cherry ripe after two slightly below-par efforts and he is one for wider bets. The Africa House and Presley are others to include in larger bets. Race 9 is a MR 90 Handicap for fillies and mares over 1600m and I ride Future Date who returned recently after a fairly long break with a good effort. She is a well above average filly and if the second run after a rest does not affect her then I am expecting a good run. Mountain High drops in class and steps up in trip, both of which will benefit her, and a repeat of her current form will see her as the horse to beat. Too Late My Mate has been slightly disappointing after some good efforts in feature races. Her merit rating has been coming down and that should make her very competitive. Palace Dancer is in really good form and she must go into all bets. Ceuta and Accept Cookies are others to consider for wider bets. BEST BET Race 3 No 10 Radio Star VALUE BET Race 1 No 5 Anchorage PICK 6 R1920 Leg 1: 11, 12 Leg 2: 8, 9 Leg 3: 1, 2, 4, 6, 9 Leg 4: 1, 2, 3, 4, 5, 6 Leg 5: 1, 5, 8, 9 Leg 6: 2, 3, 6, 10
Pembrokeshire Herald
25-04-2025
- Entertainment
- Pembrokeshire Herald
Biggest feature film shot entirely in Wales released today
ONE of Hollywood's poshest hotels had an unexpected guest. A global icon was relaxing in his executive suite, preparing for the party of all parties and the concert of all concerts. Outside, Keith Williams, from Neath in South Wales, padlocked his rusty old bicycle in the bike rack. The two-wheeler was all he could afford as he tried to make a name for himself, creating ideas for pop videos. Surely bands could do more than just stand there, strumming, he told everyone. Could they maybe act out a story? Keith nipped into the toilet to adjust his plastic yellow bow tie and bright red spectacles. He was ready. What was this invitation all about? He glanced again and again at the mysterious, gold-embossed invitation card. Just the address and time. Was it a prank? Burly bodyguards appeared and ushered Keith along a grand corridor to a suite fit only for millionaires. Keith peered into the lavish surroundings. There, waiting with his entourage, was Elton John. Megastar of the 1980s. 'I saw you cycling down Santa Monica Boulevard, dear, and wondered whether I should knock you down in my Bentley,' Elton joked. Memories came flooding back. The last time Keith and Elton had met was five years earlier at the star's house in Windsor. Keith was sleeping on a bedroom floor while he worked on videos for Elton's early tracks. Now the great man had seen Keith's credits on MTV. Was Keith's video really the first to appear on the groundbreaking channel? Yes, it was. The video to promote the hit by the Buggles, Video Killed the Radio Star, was all down to the aspiring Welshman. The evening had only just begun. Keith was ushered downstairs by elevator to the hotel car park, where a chauffeur awaited. His car was due to follow Elton's limo as it snaked out of the hotel grounds. A hefty police escort had been assembled with red flashing lights, blaring sirens, helmeted cops on motorbikes and more officers holding back traffic at junctions. Their destination: The Universal Amphitheatre, venue for the evening's concert. Keith Williams and Elton John Keith found himself in the middle of a pre-concert party. Elton appeared in a massive purple wig. His new wife, Renate, was there too, smiling gracefully at everyone. A dazzling Indian buffet had been prepared by leading chefs, especially flown over from England. The concert was beyond spectacular, with Elton performing at the peak of his career. It was far from a one-off reunion. Keith could look forward to thoughtful birthday cards, sent on the dot from Elton every year. Thriller Keith's telephone started to ring non-stop. Soon after arriving in Hollywood, with his dream of creating pop videos for the stars, a music producer was on the line. News of that MTV video was spreading. 'Have you heard of Michael Jackson?' 'Er…no…who's he?' 'One of the Jackson Five.' 'Oh, I'm not really into Motown.' 'He's gone solo. He's got a new album coming out. Something called Thriller. Sounds promising. Needs storylines for the videos.' 'I'm up for that,' Keith answered enthusiastically. 'Have a listen to two of the tracks. Billie Jean and Beat It, they're called.' Keith Williams and Michael Jackson on the set of Billie Jean Another chauffeur-driven limo appeared, whisking Keith to Michael's home in Encino, an upmarket part of Los Angeles. Inside the palatial property, there were flowers everywhere. Michael appeared, gliding into the reception lounge as if on roller skates. When Michael spoke, Keith stared at him, aghast. No one had told Keith that Michael talked in a high-pitched squeak, like Mickey Mouse. Keith's pitch for the video was tricky, as he tried to keep a straight face. Keith had listened to Michael singing on the two tracks, but they sounded like a normal, impressive singing voice. 'Hey, you're talented, I really like those ideas,' Michael squeaked. On the set of Billie Jean, a surprise lay in store. Michael approached Keith. What did the star want on such a busy day? 'Can I touch you on the forehead?' Keith was mystified, never having had such a request before. 'Sure,' Keith nodded, allowing Michael to prod his brow. Michael smiled, then walked back onto the set to continue singing. What was all that about? It turned out that Michael was a fan of ET, in fact anything by director Steven Spielberg; touching the forehead was all the rage in LA. Keith had just had a close encounter with a future giant of the music industry. Keith Williams with Bonnie Tyler filming Holding Out For A Hero Keith was now a long way from Neath. Back home in his bedroom, he recalled how he wasn't allowed to put up posters of his idols. Now he was being whisked from exotic location to exotic location, working with them, and calling the shots. Soon, Keith was filming Holding Out for a Hero with Bonnie Tyler when the downdraught from the helicopter almost blew her over the edge of the Grand Canyon. She was reluctant to venture close to the sheer drop again. Luckily, Keith's mum, living just up the road in Skewen, had sent over some Valium for her son. Keith gave a pill to Bonnie, and she was able to perform her worldwide hit on the edge of a precipice. His next phone call with an emerging singer proved to be fruitful, but there was a downside. 'Hello, is that Madonna?' 'Hi, Madonna here.' 'Hi, I'm Keith.' 'Keith?' 'Keith from Neath. It's in…it's in Wales.' 'You're the guy who does the videos? You're from…Wales?' 'Yes, and I know you're going to be very famous in Wales!' A few ideas from Keith, delivered to the bamboozled Madonna, and then: 'Oh, I like that…oh, I like that.' Keith Williams credit on Madonna's 'Borderline' single Keith composed the video story for her 1984 hit, Borderline. Madonna plays the girlfriend of a Hispanic man. Keith's idea was to break taboos about interracial relationships. All was not plain sailing with Madonna, though. Keith had no idea she was going to be a global sensation and pursued other projects instead of sticking with her. Also, he was given custody of the master tape for another future hit. Keith admits in his book…he lost it. Calls from agents flooded in. The promotional video for the Ghostbusters film was Keith's creation. Then, another call out of the blue from a prominent agent. 'Would you be free to meet Barbra Streisand?' 'Let me check my diary.' A microsecond later: 'Yes, I appear to be free.' The next day, a black limousine pulled up, whisking Keith along the Pacific Coast Highway to Ms Streisand's beach residence in Malibu. Five residences, actually. Not on the beach itself; her estate was set well back, lying at the end of a one-track lane. Streisland, more like it, Keith thought. Barbra appeared at the door. 'Would you like some coffee?' Keith took a while to get his head around sitting in Barbra Streisand's kitchen while she put the kettle on. As they discussed potential videos, Barbra paused and said: 'You're brilliant.' Keith wanted to know what she did with so many houses. 'Well last night, I had dinner in the house over there, I had a bath in another, and then slept in this one!' The Bee Gees, Donna Summer, Billy Idol, Phil Collins and so many stars of the '80s used Keith's concepts for their videos. Olivia Newton-John adored the Welsh 'ideas man', taking him all over the world on her video shoots while he came up with more and more story outlines for her. Olivia Newton John with Keith Williams Keith was thrilled to be credited as the writer on Olivia's Twist of Fate collection of music videos in 1983. That was some honour, working with Olivia and John Travolta. Keith's many other memories include Tina Turner on his lap in the back of an opulent limousine, glugging from a rapidly emptying champagne bottle, and sheer elation as one of his videos made it to No. 1 in America. One of the funniest incidents in a tragic and shocking situation stayed with Keith, and he related the story many times. TV presenter Peter Ivers was bludgeoned to death with a hammer in Los Angeles. Keith was dragged into the affair because one of his best friends, David Jove, happened to be a main suspect. The late Mr Jove was also implicated in a drugs bust involving the Rolling Stones in England. Actor Paul Michael Glaser, who knew Peter Ivers well, turned up at the crime scene, heartbroken over the brutal crime. A rookie cop recognised Paul, who starred as Detective Dave Starsky in the all-action TV cop series, 'Starsky and Hutch'. 'Excuse me sir, what should we be doing to find the killer?' the rookie asked Starsky, loud enough for everyone to hear. 'I don't know!' Paul Michael Glaser replied as laughter was disguised as polite coughs. 'I'm not a real cop. I'm an actor!' Keith Williams died in 2023 at the age of 73. He had written his memoir, The Boy Who Went to Hollywood, including many of these fascinating stories and more. His friend and collaborator, Disney producer Paul de Vos, decided that Keith's escapades in Los Angeles would make a fascinating book. With more than a little help from Paul's friends, Keith's adventurous life is now published for music fans to read. The Boy Who Went to Hollywood was an Amazon hot new release and bestseller as soon as it came out. Keith would be delighted to read the reviews! The Boy Who Went to Hollywood is edited by David Meikle and Paul de Vos. You can purchase it HERE Article by David Meikle The Boy Who Went To Hollywood – the story of Keith Williams
Pembrokeshire Herald
25-04-2025
- Entertainment
- Pembrokeshire Herald
Gimme! Gimme! Gimme! ABBA magic at the Torch
ONE of Hollywood's poshest hotels had an unexpected guest. A global icon was relaxing in his executive suite, preparing for the party of all parties and the concert of all concerts. Outside, Keith Williams, from Neath in South Wales, padlocked his rusty old bicycle in the bike rack. The two-wheeler was all he could afford as he tried to make a name for himself, creating ideas for pop videos. Surely bands could do more than just stand there, strumming, he told everyone. Could they maybe act out a story? Keith nipped into the toilet to adjust his plastic yellow bow tie and bright red spectacles. He was ready. What was this invitation all about? He glanced again and again at the mysterious, gold-embossed invitation card. Just the address and time. Was it a prank? Burly bodyguards appeared and ushered Keith along a grand corridor to a suite fit only for millionaires. Keith peered into the lavish surroundings. There, waiting with his entourage, was Elton John. Megastar of the 1980s. 'I saw you cycling down Santa Monica Boulevard, dear, and wondered whether I should knock you down in my Bentley,' Elton joked. Memories came flooding back. The last time Keith and Elton had met was five years earlier at the star's house in Windsor. Keith was sleeping on a bedroom floor while he worked on videos for Elton's early tracks. Now the great man had seen Keith's credits on MTV. Was Keith's video really the first to appear on the groundbreaking channel? Yes, it was. The video to promote the hit by the Buggles, Video Killed the Radio Star, was all down to the aspiring Welshman. The evening had only just begun. Keith was ushered downstairs by elevator to the hotel car park, where a chauffeur awaited. His car was due to follow Elton's limo as it snaked out of the hotel grounds. A hefty police escort had been assembled with red flashing lights, blaring sirens, helmeted cops on motorbikes and more officers holding back traffic at junctions. Their destination: The Universal Amphitheatre, venue for the evening's concert. Keith Williams and Elton John Keith found himself in the middle of a pre-concert party. Elton appeared in a massive purple wig. His new wife, Renate, was there too, smiling gracefully at everyone. A dazzling Indian buffet had been prepared by leading chefs, especially flown over from England. The concert was beyond spectacular, with Elton performing at the peak of his career. It was far from a one-off reunion. Keith could look forward to thoughtful birthday cards, sent on the dot from Elton every year. Thriller Keith's telephone started to ring non-stop. Soon after arriving in Hollywood, with his dream of creating pop videos for the stars, a music producer was on the line. News of that MTV video was spreading. 'Have you heard of Michael Jackson?' 'Er…no…who's he?' 'One of the Jackson Five.' 'Oh, I'm not really into Motown.' 'He's gone solo. He's got a new album coming out. Something called Thriller. Sounds promising. Needs storylines for the videos.' 'I'm up for that,' Keith answered enthusiastically. 'Have a listen to two of the tracks. Billie Jean and Beat It, they're called.' Keith Williams and Michael Jackson on the set of Billie Jean Another chauffeur-driven limo appeared, whisking Keith to Michael's home in Encino, an upmarket part of Los Angeles. Inside the palatial property, there were flowers everywhere. Michael appeared, gliding into the reception lounge as if on roller skates. When Michael spoke, Keith stared at him, aghast. No one had told Keith that Michael talked in a high-pitched squeak, like Mickey Mouse. Keith's pitch for the video was tricky, as he tried to keep a straight face. Keith had listened to Michael singing on the two tracks, but they sounded like a normal, impressive singing voice. 'Hey, you're talented, I really like those ideas,' Michael squeaked. On the set of Billie Jean, a surprise lay in store. Michael approached Keith. What did the star want on such a busy day? 'Can I touch you on the forehead?' Keith was mystified, never having had such a request before. 'Sure,' Keith nodded, allowing Michael to prod his brow. Michael smiled, then walked back onto the set to continue singing. What was all that about? It turned out that Michael was a fan of ET, in fact anything by director Steven Spielberg; touching the forehead was all the rage in LA. Keith had just had a close encounter with a future giant of the music industry. Keith Williams with Bonnie Tyler filming Holding Out For A Hero Keith was now a long way from Neath. Back home in his bedroom, he recalled how he wasn't allowed to put up posters of his idols. Now he was being whisked from exotic location to exotic location, working with them, and calling the shots. Soon, Keith was filming Holding Out for a Hero with Bonnie Tyler when the downdraught from the helicopter almost blew her over the edge of the Grand Canyon. She was reluctant to venture close to the sheer drop again. Luckily, Keith's mum, living just up the road in Skewen, had sent over some Valium for her son. Keith gave a pill to Bonnie, and she was able to perform her worldwide hit on the edge of a precipice. His next phone call with an emerging singer proved to be fruitful, but there was a downside. 'Hello, is that Madonna?' 'Hi, Madonna here.' 'Hi, I'm Keith.' 'Keith?' 'Keith from Neath. It's in…it's in Wales.' 'You're the guy who does the videos? You're from…Wales?' 'Yes, and I know you're going to be very famous in Wales!' A few ideas from Keith, delivered to the bamboozled Madonna, and then: 'Oh, I like that…oh, I like that.' Keith Williams credit on Madonna's 'Borderline' single Keith composed the video story for her 1984 hit, Borderline. Madonna plays the girlfriend of a Hispanic man. Keith's idea was to break taboos about interracial relationships. All was not plain sailing with Madonna, though. Keith had no idea she was going to be a global sensation and pursued other projects instead of sticking with her. Also, he was given custody of the master tape for another future hit. Keith admits in his book…he lost it. Calls from agents flooded in. The promotional video for the Ghostbusters film was Keith's creation. Then, another call out of the blue from a prominent agent. 'Would you be free to meet Barbra Streisand?' 'Let me check my diary.' A microsecond later: 'Yes, I appear to be free.' The next day, a black limousine pulled up, whisking Keith along the Pacific Coast Highway to Ms Streisand's beach residence in Malibu. Five residences, actually. Not on the beach itself; her estate was set well back, lying at the end of a one-track lane. Streisland, more like it, Keith thought. Barbra appeared at the door. 'Would you like some coffee?' Keith took a while to get his head around sitting in Barbra Streisand's kitchen while she put the kettle on. As they discussed potential videos, Barbra paused and said: 'You're brilliant.' Keith wanted to know what she did with so many houses. 'Well last night, I had dinner in the house over there, I had a bath in another, and then slept in this one!' The Bee Gees, Donna Summer, Billy Idol, Phil Collins and so many stars of the '80s used Keith's concepts for their videos. Olivia Newton-John adored the Welsh 'ideas man', taking him all over the world on her video shoots while he came up with more and more story outlines for her. Olivia Newton John with Keith Williams Keith was thrilled to be credited as the writer on Olivia's Twist of Fate collection of music videos in 1983. That was some honour, working with Olivia and John Travolta. Keith's many other memories include Tina Turner on his lap in the back of an opulent limousine, glugging from a rapidly emptying champagne bottle, and sheer elation as one of his videos made it to No. 1 in America. One of the funniest incidents in a tragic and shocking situation stayed with Keith, and he related the story many times. TV presenter Peter Ivers was bludgeoned to death with a hammer in Los Angeles. Keith was dragged into the affair because one of his best friends, David Jove, happened to be a main suspect. The late Mr Jove was also implicated in a drugs bust involving the Rolling Stones in England. Actor Paul Michael Glaser, who knew Peter Ivers well, turned up at the crime scene, heartbroken over the brutal crime. A rookie cop recognised Paul, who starred as Detective Dave Starsky in the all-action TV cop series, 'Starsky and Hutch'. 'Excuse me sir, what should we be doing to find the killer?' the rookie asked Starsky, loud enough for everyone to hear. 'I don't know!' Paul Michael Glaser replied as laughter was disguised as polite coughs. 'I'm not a real cop. I'm an actor!' Keith Williams died in 2023 at the age of 73. He had written his memoir, The Boy Who Went to Hollywood, including many of these fascinating stories and more. His friend and collaborator, Disney producer Paul de Vos, decided that Keith's escapades in Los Angeles would make a fascinating book. With more than a little help from Paul's friends, Keith's adventurous life is now published for music fans to read. The Boy Who Went to Hollywood was an Amazon hot new release and bestseller as soon as it came out. Keith would be delighted to read the reviews! The Boy Who Went to Hollywood is edited by David Meikle and Paul de Vos. You can purchase it HERE Article by David Meikle The Boy Who Went To Hollywood – the story of Keith Williams
Pembrokeshire Herald
25-04-2025
- Entertainment
- Pembrokeshire Herald
Paddle steamer Waverley returns to Pembrokeshire ports this summer
ONE of Hollywood's poshest hotels had an unexpected guest. A global icon was relaxing in his executive suite, preparing for the party of all parties and the concert of all concerts. Outside, Keith Williams, from Neath in South Wales, padlocked his rusty old bicycle in the bike rack. The two-wheeler was all he could afford as he tried to make a name for himself, creating ideas for pop videos. Surely bands could do more than just stand there, strumming, he told everyone. Could they maybe act out a story? Keith nipped into the toilet to adjust his plastic yellow bow tie and bright red spectacles. He was ready. What was this invitation all about? He glanced again and again at the mysterious, gold-embossed invitation card. Just the address and time. Was it a prank? Burly bodyguards appeared and ushered Keith along a grand corridor to a suite fit only for millionaires. Keith peered into the lavish surroundings. There, waiting with his entourage, was Elton John. Megastar of the 1980s. 'I saw you cycling down Santa Monica Boulevard, dear, and wondered whether I should knock you down in my Bentley,' Elton joked. Memories came flooding back. The last time Keith and Elton had met was five years earlier at the star's house in Windsor. Keith was sleeping on a bedroom floor while he worked on videos for Elton's early tracks. Now the great man had seen Keith's credits on MTV. Was Keith's video really the first to appear on the groundbreaking channel? Yes, it was. The video to promote the hit by the Buggles, Video Killed the Radio Star, was all down to the aspiring Welshman. The evening had only just begun. Keith was ushered downstairs by elevator to the hotel car park, where a chauffeur awaited. His car was due to follow Elton's limo as it snaked out of the hotel grounds. A hefty police escort had been assembled with red flashing lights, blaring sirens, helmeted cops on motorbikes and more officers holding back traffic at junctions. Their destination: The Universal Amphitheatre, venue for the evening's concert. Keith Williams and Elton John Keith found himself in the middle of a pre-concert party. Elton appeared in a massive purple wig. His new wife, Renate, was there too, smiling gracefully at everyone. A dazzling Indian buffet had been prepared by leading chefs, especially flown over from England. The concert was beyond spectacular, with Elton performing at the peak of his career. It was far from a one-off reunion. Keith could look forward to thoughtful birthday cards, sent on the dot from Elton every year. Thriller Keith's telephone started to ring non-stop. Soon after arriving in Hollywood, with his dream of creating pop videos for the stars, a music producer was on the line. News of that MTV video was spreading. 'Have you heard of Michael Jackson?' 'Er…no…who's he?' 'One of the Jackson Five.' 'Oh, I'm not really into Motown.' 'He's gone solo. He's got a new album coming out. Something called Thriller. Sounds promising. Needs storylines for the videos.' 'I'm up for that,' Keith answered enthusiastically. 'Have a listen to two of the tracks. Billie Jean and Beat It, they're called.' Keith Williams and Michael Jackson on the set of Billie Jean Another chauffeur-driven limo appeared, whisking Keith to Michael's home in Encino, an upmarket part of Los Angeles. Inside the palatial property, there were flowers everywhere. Michael appeared, gliding into the reception lounge as if on roller skates. When Michael spoke, Keith stared at him, aghast. No one had told Keith that Michael talked in a high-pitched squeak, like Mickey Mouse. Keith's pitch for the video was tricky, as he tried to keep a straight face. Keith had listened to Michael singing on the two tracks, but they sounded like a normal, impressive singing voice. 'Hey, you're talented, I really like those ideas,' Michael squeaked. On the set of Billie Jean, a surprise lay in store. Michael approached Keith. What did the star want on such a busy day? 'Can I touch you on the forehead?' Keith was mystified, never having had such a request before. 'Sure,' Keith nodded, allowing Michael to prod his brow. Michael smiled, then walked back onto the set to continue singing. What was all that about? It turned out that Michael was a fan of ET, in fact anything by director Steven Spielberg; touching the forehead was all the rage in LA. Keith had just had a close encounter with a future giant of the music industry. Keith Williams with Bonnie Tyler filming Holding Out For A Hero Keith was now a long way from Neath. Back home in his bedroom, he recalled how he wasn't allowed to put up posters of his idols. Now he was being whisked from exotic location to exotic location, working with them, and calling the shots. Soon, Keith was filming Holding Out for a Hero with Bonnie Tyler when the downdraught from the helicopter almost blew her over the edge of the Grand Canyon. She was reluctant to venture close to the sheer drop again. Luckily, Keith's mum, living just up the road in Skewen, had sent over some Valium for her son. Keith gave a pill to Bonnie, and she was able to perform her worldwide hit on the edge of a precipice. His next phone call with an emerging singer proved to be fruitful, but there was a downside. 'Hello, is that Madonna?' 'Hi, Madonna here.' 'Hi, I'm Keith.' 'Keith?' 'Keith from Neath. It's in…it's in Wales.' 'You're the guy who does the videos? You're from…Wales?' 'Yes, and I know you're going to be very famous in Wales!' A few ideas from Keith, delivered to the bamboozled Madonna, and then: 'Oh, I like that…oh, I like that.' Keith Williams credit on Madonna's 'Borderline' single Keith composed the video story for her 1984 hit, Borderline. Madonna plays the girlfriend of a Hispanic man. Keith's idea was to break taboos about interracial relationships. All was not plain sailing with Madonna, though. Keith had no idea she was going to be a global sensation and pursued other projects instead of sticking with her. Also, he was given custody of the master tape for another future hit. Keith admits in his book…he lost it. Calls from agents flooded in. The promotional video for the Ghostbusters film was Keith's creation. Then, another call out of the blue from a prominent agent. 'Would you be free to meet Barbra Streisand?' 'Let me check my diary.' A microsecond later: 'Yes, I appear to be free.' The next day, a black limousine pulled up, whisking Keith along the Pacific Coast Highway to Ms Streisand's beach residence in Malibu. Five residences, actually. Not on the beach itself; her estate was set well back, lying at the end of a one-track lane. Streisland, more like it, Keith thought. Barbra appeared at the door. 'Would you like some coffee?' Keith took a while to get his head around sitting in Barbra Streisand's kitchen while she put the kettle on. As they discussed potential videos, Barbra paused and said: 'You're brilliant.' Keith wanted to know what she did with so many houses. 'Well last night, I had dinner in the house over there, I had a bath in another, and then slept in this one!' The Bee Gees, Donna Summer, Billy Idol, Phil Collins and so many stars of the '80s used Keith's concepts for their videos. Olivia Newton-John adored the Welsh 'ideas man', taking him all over the world on her video shoots while he came up with more and more story outlines for her. Olivia Newton John with Keith Williams Keith was thrilled to be credited as the writer on Olivia's Twist of Fate collection of music videos in 1983. That was some honour, working with Olivia and John Travolta. Keith's many other memories include Tina Turner on his lap in the back of an opulent limousine, glugging from a rapidly emptying champagne bottle, and sheer elation as one of his videos made it to No. 1 in America. One of the funniest incidents in a tragic and shocking situation stayed with Keith, and he related the story many times. TV presenter Peter Ivers was bludgeoned to death with a hammer in Los Angeles. Keith was dragged into the affair because one of his best friends, David Jove, happened to be a main suspect. The late Mr Jove was also implicated in a drugs bust involving the Rolling Stones in England. Actor Paul Michael Glaser, who knew Peter Ivers well, turned up at the crime scene, heartbroken over the brutal crime. A rookie cop recognised Paul, who starred as Detective Dave Starsky in the all-action TV cop series, 'Starsky and Hutch'. 'Excuse me sir, what should we be doing to find the killer?' the rookie asked Starsky, loud enough for everyone to hear. 'I don't know!' Paul Michael Glaser replied as laughter was disguised as polite coughs. 'I'm not a real cop. I'm an actor!' Keith Williams died in 2023 at the age of 73. He had written his memoir, The Boy Who Went to Hollywood, including many of these fascinating stories and more. His friend and collaborator, Disney producer Paul de Vos, decided that Keith's escapades in Los Angeles would make a fascinating book. With more than a little help from Paul's friends, Keith's adventurous life is now published for music fans to read. The Boy Who Went to Hollywood was an Amazon hot new release and bestseller as soon as it came out. Keith would be delighted to read the reviews! The Boy Who Went to Hollywood is edited by David Meikle and Paul de Vos. You can purchase it HERE Article by David Meikle The Boy Who Went To Hollywood – the story of Keith Williams
