The Classic/Retro Pop Culture Thread

[The Old Mixer]

My impression is that the Doors gained some stature in hindsight from later generations of fans (such as myself) discovering them. And Jim always thought of himself as a poet first, not a singer.

Maybe they should have tightened it up before recording it.

In defense of "Tighten Up," it seems that it's considered a seminal track in establishing the funk subgenre as we came to know it by the early '70s.

Well, I don't think they deserve to be on a level with bands like the Beatles or the Stones.

Most serious-minded music historians (in other words, anyone not working for Rolling Stone) don't place the Doors on the same level.

Looking to Rolling Stone's 500 Greatest Songs list...

• The Beatles: Highest number of songs at 23; highest-ranking song is "Hey Jude" at #7;
• The Rolling Stones: Second-highest number of songs at 14; highest-ranking song is "Satisfaction" at #2;
• The Doors: 2 songs, "Light My Fire" (#35) and "The End" (#328).

Let's check their 100 Greatest Artists list:

• The Beatles: #1
• The Rolling Stones: #4
• The Doors: #41

If somebody's placing them on the same level, it's not Rolling Stone.

Although they had numerous, memorable hits with a body of work nowhere near the level of the named acts, it cannot be argued that the work produced immediately after Morriosn's death dropped off the commercial scale to the degree that it was no stretch say their better days were behind them.

That's a bit of a strawman argument...the surviving bandmembers' attempt to soldier on for a couple of albums without Jim has been largely an obscure footnote for decades.

 

[scotpens]

My impression is that the Doors gained some stature in hindsight from later generations of fans (such as myself) discovering them. And Jim always thought of himself as a poet first, not a singer.

Well then, he was a mediocre poet.

 

[TREK_GOD_1]

My impression is that the Doors gained some stature in hindsight from later generations of fans (such as myself) discovering them. And Jim always thought of himself as a poet first, not a singer.

They were popular during their active years, with some praising their work as being unique...its just that they were never the top shelf sensation like The Beatles, the Rolling Stones, et al. (a tall order). I'll put it the way the book The Complete Guide to the Music of The Who did in terms of group placement:

"The Who, erstwhile bronze medalists behind The Beatles and The Rolling Stones in the Sixties Pop Olympiad..."

The point being that the Doors were never going to crack that top three ranking, but that did not mean they were not highly popular/appreciated in their era. Its just that it was all so short-lived with not enough material (or time) to show the kind of growth enjoyed by the winners of that so-called Sixties Pop Olympiad.

If somebody's placing them on the same level, it's not Rolling Stone.

They're still not serious.

That's a bit of a strawman argument...the surviving bandmembers' attempt to soldier on for a couple of albums without Jim has been largely an obscure footnote for decades.

Hardly a footnote, as the attempt(s) had many ears open to it (at least critically) to see how they would function post Morrison. I've certainly read more than a few articles on the Doors, where the authors made a point to avoid glossing over the post-Morrsion work, to judge the talents of all involved. Its no different than the attention (albeit to a lesser degree) given to the Crickets after Holly stopped recording with them in '58: you have to look at the entire career (short as it was) in order to judge the work.

 

[RJDiogenes]

And Jim always thought of himself as a poet first, not a singer.

This is what I heard from my Sister, who once made me read a book of his poetry.

In defense of "Tighten Up," it seems that it's considered a seminal track in establishing the funk subgenre as we came to know it by the early '70s.

So of interest to Funky historians.

If somebody's placing them on the same level, it's not Rolling Stone.

I guess it's just sort of an impression one gets over the years, that they're supposed to be in that top tier.

Well then, he was a mediocre poet.

Actually, most of his real work never got anywhere near The Doors.

 

[The Old Mixer]

Well then, he was a mediocre poet.

Everyone's entitled to their opinion....

that so-called Sixties Pop Olympiad.

I have to question whether that's just critic-minded hindsight. I was under the impression that commercially, at least, the Who were never anywhere near the Beatles/Stones level in the '60s, and that they didn't really break out and become a thing until the turn of the decade and the album rock era.

This is what I heard from my Sister, who once made me read a book of his poetry.

Actually, most of his real work never got anywhere near The Doors.

Did you ever listen to An American Prayer, his posthumous spoken poetry album (with musical accompaniment added by the surviving Doors)?

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There's also material like his Celebration of the Lizard poem/song suite, which was at one point intended to take up an entire side of the Waiting for the Sun album. The only remnant of it on the final album is the song "Not to Touch the Earth," but the Doors were performing it live:

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OK, that one's a bit tougher on the ears, but it does have a beat poetry vibe to it.

 

[The Borgified Corpse]

I never got the impression that there was any actual rule, just that shows like Batman were being coy about the president's identity.

I wonder if they were also concerned about making political references that would sound too dated when the show was being rerun a few years later. Plus, the JFK assassination would have taught them that things can change in a heartbeat and a harmless reference while you're making it could quickly change into a tasteless reminder of a national tragedy.

That's a bit of a strawman argument...the surviving bandmembers' attempt to soldier on for a couple of albums without Jim has been largely an obscure footnote for decades.

Kinda like Queen post-Freddie Mercury.

 

[The Old Mixer]

I wonder if they were also concerned about making political references that would sound too dated when the show was being rerun a few years later. Plus, the JFK assassination would have taught them that things can change in a heartbeat and a harmless reference while you're making it could quickly change into a tasteless reminder of a national tragedy.

I think if that were the case they wouldn't have been making all the associational references to Texas, cattle, etc., which are just as dated (and less likely to be understood by even later viewers).

 

[RJDiogenes]

Did you ever listen to An American Prayer, his posthumous spoken poetry album (with musical accompaniment added by the surviving Doors)?

Groovy. I'll have to cleverly determine if my Sister knows about this-- if not, I just found her birthday present. (As a humorous aside, as that video trailed off, I got up to go upstairs for my medicine and as I crossed the darkened room I heard "One more thing..." behind me, and it really freaked me out. )

OK, that one's a bit tougher on the ears, but it does have a beat poetry vibe to it.

It sure does.

 

[The Old Mixer]

I'll have to cleverly determine if my Sister knows about this-- if not, I just found her birthday present.

It came out in the late '70s, so if she's the Jim/Doors fan you say she is, I'd be surprised if she doesn't have it.

 

[TREK_GOD_1]

I have to question whether that's just critic-minded hindsight. I was under the impression that commercially, at least, the Who were never anywhere near the Beatles/Stones level in the '60s, and that they didn't really break out and become a thing until the turn of the decade and the album rock era.

I think the author is referring to overall importance. The Who were not only one of the vanguard of a type of youth oriented, negative identity-themed music not to be found in the "yeah, yeah, yeah" of early British Invasion songs, but at every step of their 60s career they were producing increasingly innovative work. One has to think you cannot underestimate a band's musical standing when a legend like Leonard Bernstein praised the songs from Tommy. It was already apparent how younger audiences/critics felt about the album, but it said much about the band's musical prowess for a master composer of a very different generation / influence to recognize the value of their work (which I personally place on a higher level than say, Sinatra's praise of The Beatles' "Something"). That's the kind of recognition that was utterly uncommon at that time in rock/pop history, so this suggests the group had made Superman-like leaps over endless acts of that period to--at least--land in the bronze medal position in that so-named Sixties Pop Olympiad.

 

[RJDiogenes]

^^ In terms of pure musical sophistication, I think The Who are at the top of the list.

It came out in the late '70s, so if she's the Jim/Doors fan you say she is, I'd be surprised if she doesn't have it.

Very possibly, but it's hard to say. She's not one to hunt things down or join fan clubs or anything, so it depends on how obscure it is. I'm going to take a chance and get it.

 

[The Old Mixer]

One has to think you cannot underestimate a band's musical standing when a legend like Leonard Bernstein praised the songs from Tommy. It was already apparent how younger audiences/critics felt about the album, but it said much about the band's musical prowess for a master composer of a very different generation / influence to recognize the value of their work (which I personally place on a higher level than say, Sinatra's praise of The Beatles' "Something"). That's the kind of recognition that was utterly uncommon at that time in rock/pop history

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[RJDiogenes]

"And you may be right... but back to the music." It's interesting to see the dissection of someone with his knowledge and talent, from the perspective of the moment in real time that it's happening. He's in the unique position of being outside and inside at the same time.

 

[TREK_GOD_1]

^^ In terms of pure musical sophistication, I think The Who are at the top of the list.

Agreed. Other acts tended to fall into "We must do something different" for the sake of it, as bands increasingly became competitive in the "innovation" game, but this had always been natural for The Who, which is why the evolution from their albums of the 60s into the 70 seemed like a natural course, instead of jumping on whatever trend was hot or critic-worthy.

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I've seen that clip before, and it still does not erase his specific attention paid to The Who & their Tommy, and why it justifies their bronze medal level of 60s acts. In the book Anyway, Anyhow, Anywhere: The Complete Chronicle of The Who, 1958 - 1978, in covering the group's legendary Fillmore East show, Townshend recalled Bernstein's reaction:

"Leonard Bernstein came with his daughter," said Townshend. "...and he was iincredibly excited. He grabbed me by the shoulder, shook me and said, 'Do you realize what you are doing? Do you realize how wonderful this is?'

Quite a reaction for one who knew music to a degree unlike most.

Further, in 1969, Life magazine said of Townshend, the group and album:

"Now, Peter Townshend of the Who, British rock's toughest and most innovative group, has made the dream a reality with Tommy, a full-length pop opera that for sheer power, invention and brilliance of performance outstrips anything that has ever come out of a rock recording studio."

The Who were going into territory only they were equipped to explore, which explains the high praise reserved for their last album of the 60s, and their overall status.

 

[The Old Mixer]

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50th Anniversary Viewing

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The Ed Sullivan Show
Season 20, episode 29
Originally aired March 24, 1968
As represented in The Best of the Ed Sullivan Show

Ed confirms in the intro that the first Diana Ross & the Supremes number was indeed the show opener (whereas I'm of the impression that Best of routinely reorders multiple performances by the same act). Their newest single, "Forever Came Today," is still climbing the chart 50 years ago this week, and I saved this video for the occasion:

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This one's been growing on me in the weekly playlist. Even when a song charts pretty low by the Supremes' hitmaking standards, they're not exactly putting out stinkers.

Coming to us three weeks in advance of entering the Hot 100 is the spankin' new single by Spanky & Our Gang, "Like to Get to Know You":

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Such a pleasant piece of sunshine pop, which I'm glad is still around in '68. That's a nice, mildly surreal effect having the band members as both performers and audience. In the episode there's a prelude to the song that has the ones in the foreground engaging in small talk at their imaginary cocktail party.

Charlie Cairoli & Co. mix comedy with clarinets, saxophones, and a bit of trombone. At one point Charlie, who sports a Chaplinesque look, swallows his clarinet's mouthpiece and emits squeaks. He closes the act playing a wind instrument attached to a hose that he whirls around over his head. Here's a really low-quality video that I found.

George Carlin does a skit in which he's selling records in a late-night TV commercial, with lots of little contemporary references, including to the presidential race. There's a small clip of it on YouTube, but shot from a handheld cam off a TV screen.

In their encore performance, the Supremes show off their versatility by performing a tribute-by-medley to composer Fats Waller:

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The Best of installment showed "Honeysuckle Rose" and "Ain't Misbehavin'," but cut out "Keepin' Out of Mischief Now" (approx. 3:04 to 3:44 in the video above). Best of did show that cute bit at the end where they have to reign Diana in.

What else was in the original episode?

Music:
--Nancy Sinatra and Lee Hazlewood - "Story Book Children."
--Nancy Sinatra - "100 Years."
--Jimmy Dean - "Little Thing Called Love" & "To A Sleeping Beauty."
Comedy:
--Louis & Christy (comedy team)
Also appearing:
--Dominique (illusionist)
--Audience bows: Franco Corelli, Del Insco, Jean Drapeau.

Good calls this time, Best of.

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Rowan & Martin's Laugh-In
Season 1, episode 9
Originally aired March 25, 1968

Elgin Baylor, Harry Belafonte, Joey Bishop, Sammy Davis, Jr., Regis Philbin, John Wayne, Pamela Austin

"Ladies and gentlemen, Mr. Sammy Davis, Jr."

It looks like Sammy starts the "Here come the judge" gag, which will become a regular feature and spawn two different hit singles this year.

This week's New Talent Spotlight includes Maharishi & His Mahrashinos(?), as well as Sammy Davis Jr. and Arte Johnson playing identical twins.

Mod, Mod World looks at the Olympics.

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The Avengers
"Invasion of the Earthmen"
Originally aired March 27, 1968 (US); January 15, 1969 (UK)

Steed and Tara investigate an unusual school: a military academy for young men and women, that hides a secret astronaut training centre.

This week gives us our striking new credits sequence:

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Of course, Cozi wasn't showing the closing ones.

The academy uniforms in the episode look quite Trekkish, which is interesting...Trek wasn't being shown in the UK yet.

Tara gets a Telly Fu chop from one of the students...how ungallant.

Furthering the Trek similarities, one of the young ladies does some sort of double-handed nerve pinch on Tara; the students go into Yellow Alert and Security Condition Red; and Tara does a flying double kick, not unlike Kirk's Flying Butt Slam. Despite the negative comparisons to Peel, Tara defends herself a lot better than Batgirl did, I'm afraid.

Steed's got new wheels...what happened to his old roadster? Or is the purple sports car Tara's and he just happened to be driving?

This episode consists of lots of sneaking around, being pursued, and evading traps, but doesn't have much of a story to speak of; the space thing just seemed like an excuse for some silly set dressing and a really goofy-looking space suit. It vaguely reminds me of the episode from the first Peel season that had her going undercover at a private school, but that one was much more effective in its realization.

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Ironside
"Due Process of Law"
Originally aired March 28, 1968

When Mark's girlfriend is murdered, his demands for immediate justice make it difficult to find the killer.

This sounds like a contrived situation right up front...a regular cast member's girlfriend whom we've never seen before is the murder victim of the week; but at least they're giving Mark something to do. And our two top-billed guests are Dwayne Hickman and David Carradine!

At the episode-opening party a twangy pop instrumental version of the Blues classic "Baby, Please Don't Go" is playing; it turns up a couple more times in the episode.

Mark tries to get some answers on his own, but fouls up the legality of the investigation; this includes him finding the body of their primary suspect. Ironside allows Mark to be held in custody to keep him out of further trouble.

Whodunnit? He's the second-billed guest and he was on the scene at the opening party, but that's all we saw of him for the first 3/4 of the episode...that was pretty conspicuous. He's not a terribly bright heroin pusher, either. In the climactic confrontation, he has Ed throw his gun to him, but Eve, who's standing just out of sight near Ed, just hands him hers. If Keye Luke had been in the episode he would have hung his head in shame.

This episode generally scratches the sign o' the times itch, with talk of acid, head shops, and the generation gap.

As a recurring gag in the episode, Ironside sarcastically refers to Mark as "Judge Sanger"; IMDb tells me that he's actually earned that title by the time of an eventual reunion movie. I'm glad to hear that Mark has some character/career growth coming in the series that leads to that.

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"Just Spell the Name Right"
Originally aired March 28, 1968

Ann hires press agent Eddie Edwards (Jesse White) to boost her career, but his method of doing so involves naming her in the divorce of one of her former soap opera co-stars (Robert Alda).

Ann's penny-ante agent of the week works out of a drug store phone booth. I vaguely recall Batman spoofing an actual personality who was known for something similar.

This episode gives us another appearance by Johnny Silver as Mr. Newman, the dry cleaner who's in the habit of walking into Ann's apartment without knocking.

Mr. Marie reads about the alledged "hanky panky" and is more outraged than Donald, but a spat ensues when it turns out that Donald suspects that there might be some truth behind the manufactured rumor. Ann starts getting calls in the middle of the night from the wrong people, and life imitates publicity when Alda's character, Buddy Hobart, pays a visit in which he comes on to her. The estranged Mrs. Hobart pays a parallel visit to Donald. When Ann brings Buddy to see Donald, following a bit of a misunderstanding, Ann and Donald play a role in helping patch things up between the Hobarts.

Hey, how about that new science fiction film where the couple drives through their grandfather's body in a Jeep?

"Oh, Donald" count: 1
"Oh, Daddy" count: 1
"Oh, Mrs. Hobart" count: 2

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Tarzan
"Alex the Great"
Originally aired March 29, 1968?
Series Finale (maybe...who the hell knows?)

When a village is threatened by a man-eating lion, Alex Spence arrives on the scene determined to prove himself superior to Tarzan—by killing him.

The good news: Michael Dunn is the villain in this one. The bad news: He's in yellowface. (Must be a Get Smart reference!)

The episode opens with a band playing on Spence's yacht...I'm not sure if they're supposed to be somebody, but I could only make out part of their name on the drum, in psychedelically styled lettering..."_elevyra _rin" I think. IMDb says that they were filming in Mexico, so maybe it's a local band that we wouldn't have heard of.

The titular character, played by Neville Brand, is an obnoxious sportsman who's manipulated by Dunn's character into wanting to test his mettle against the Lord of the Jungle. Despite Tarzan's unwillingness to play along, eventually the two find themselves in a cage match. Tarzan gets the better of Spence, after which the two work together to save his disgruntled wife from Fu Lovelesschu...who falls victim to poetic justice when he's crushed by the tribal idol that he was after.

Well...that's it for Tarzan. The show could be pretty weak at times, but overall I'd say that it was enjoyable and a worthwhile watch. Highlights included the early episodes with the regular setting and additional cast members; the Supremes; and of course, the now-legendary Giant Clam.

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Star Trek
"Assignment: Earth"
Originally aired March 29, 1968
Earth date: 1968

While back in time observing Earth in 1968, the Enterprise crew encounters the mysterious Gary Seven who has his own agenda on the planet.

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See my post here.

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Get Smart
"Die, Spy"
Originally aired March 30, 1968

This episode has Max teaming up with a CONTROL agent named Samuels (Stu Gilliam) to pose as a ping-pong champ in a tournament in Istanbul in order to defeat ACB, the "third spy network" (a parody of the ABC television network). (The episode is a parody of I Spy, and Samuels is a parody of Bill Cosby's tennis pro character Alexander Scott. Robert Culp, the other star of I Spy, has a cameo as a Turkish waiter). (Working title: "That's the Way the Ball Bounces".)

Now this was a genuine parody episode, not a Wiki reviewer trying to make a parody out of a spoofy title or some coincidental bit of story business. And not just of fellow NBC show I Spy, but also of rival network ABC (barely disguised as Atrocities, Cruelties, and Brutalities). Stu Gilliam seems to be deliberately channeling Bill Cosby; and while I've never sat and watched I Spy, I recognized the little montage with the cities and their names superimposed on the ping-pong playing as a play on the show's title sequence.

If this show had been filmed before a live studio audience, they probably would have gone crazy when Culp showed up. His part as a waiter who repeatedly consumes everyone's drinks is substantial and funny.

I could be doing an "Oh, Max" count for this show, you know.

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[Christopher]

The academy uniforms look quite Trekkish, which is interesting...Trek wasn't being shown in the UK yet.

Probably both were independently drawing on the same '60s fashion trends/sensibilities.

 

[The Old Mixer]

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50 Years Ago This Week

March 31 – U.S. President Lyndon B. Johnson announces he will not seek re-election.

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(To get to the point, skip to 36:24+)

April 2

• Bombs explode at midnight in two department stores in Frankfurt-am-Main; Andreas Baader and Gudrun Ensslin are later arrested and sentenced for arson.
• The film 2001: A Space Odyssey premieres in Washington, D.C.

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April 3 – The American movie Planet of the Apes is released in theaters.

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Also on April 3:

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April 4

• Martin Luther King Jr. is shot dead at the Lorraine Motel in Memphis, Tennessee. Riots erupt in major American cities, lasting for several days afterwards.

• Apollo program: Apollo-Saturn mission 502 (Apollo 6) is launched, as the second and last unmanned test-flight of the Saturn V launch vehicle.
• AEK Athens wins the FIBA European Cup Winners Cup Final against Slavia Prague, in front of a record attendance of 80,000 spectators. It was the first major European trophy won at club level of every sport in Greece.

April 6

• La, la, la by Massiel (music and lyrics by Manuel de la Calva and Ramón Arcusa) wins the Eurovision Song Contest 1968 for Spain, at the Royal Albert Hall in London.
• A shootout between Black Panthers and Oakland police results in several arrests and deaths, including 16-year-old Panther Bobby Hutton.
• A double explosion in downtown Richmond, Indiana kills 41 and injures 150.

Selections from Billboard's Hot 100 for the week:

1. "(Sittin' on) The Dock of the Bay," Otis Redding
2. "Young Girl," The Union Gap feat. Gary Puckett
3. "Valleri," The Monkees
4. "La-La Means I Love You," The Delfonics
5. "Sweet Sweet Baby (Since You've Been Gone)," Aretha Franklin
6. "Cry Like a Baby," The Box Tops
7. "Lady Madonna," The Beatles
8. "The Ballad of Bonnie and Clyde," Georgie Fame
9. "Love Is Blue (L'amour Est Bleu)," Paul Mauriat & His Orchestra
10. "Honey," Bobby Goldsboro
11. "Mighty Quinn (Quinn the Eskimo)," Manfred Mann
12. "Simon Says," 1910 Fruitgum Co.
13. "Scarborough Fair / Canticle," Simon & Garfunkel
14. "Dance to the Music," Sly & The Family Stone
15. "Kiss Me Goodbye," Petula Clark
16. "If You Can Want," Smokey Robinson & The Miracles
17. "(Theme from) Valley of the Dolls," Dionne Warwick
18. "I Got the Feelin'," James Brown & The Famous Flames
19. "Just Dropped In (To See What Condition My Condition Was In)," The First Edition
20. "I Thank You," Sam & Dave
21. "Playboy," Gene & Debbe
22. "Summertime Blues," Blue Cheer

24. "Will You Love Me Tomorrow," The Four Seasons
25. "Love Is All Around," The Troggs
26. "Sweet Inspiration," The Sweet Inspirations
27. "The Unicorn," The Irish Rovers
28. "Cowboys to Girls," The Intruders
29. "Jennifer Juniper," Donovan
30. "Take Time to Know Her," Percy Sledge
31. "Forever Came Today," Diana Ross & The Supremes
32. "The End of Our Road," Gladys Knight & The Pips
33. "I Wish It Would Rain," The Temptations
34. "The Good, the Bad and the Ugly," Hugo Montenegro, His Orchestra & Chorus
35. "Funky Street," Arthur Conley
36. "I'm Gonna Make You Love Me," Madeline Bell

41. "Soul Serenade," Willie Mitchell

46. "Tighten Up," Archie Bell & The Drells
47. "U.S. Male," Elvis Presley

50. "Mission: Impossible," Lalo Schifrin

53. "Delilah," Tom Jones

57. "Call Me Lightning," The Who

60. "Sunshine of Your Love," Cream

62. "The Unknown Soldier," The Doors

74. "Shoo-Be-Doo-Be-Doo-Da-Day," Stevie Wonder

78. "Ain't No Way," Aretha Franklin

82. "Up from the Skies," The Jimi Hendrix Experience

94. "Master Jack," Four Jacks and a Jill
95. "Mony Mony," Tommy James & The Shondells
96. "I Love You," People

Leaving the chart:

• "Bottle of Wine," The Fireballs
• "Carpet Man," The 5th Dimension
• "Everything That Touches You," The Association
• "The Inner Light," The Beatles
• "Spooky," Classics IV
• "There Is," The Dells
• "Too Much Talk," Paul Revere & The Raiders feat. Mark Lindsay
• "Words," Bee Gees

New on the chart:

"Ain't No Way," Aretha Franklin
(B-side to "Sweet Sweet Baby (Since You've Been Gone)"; #16 US; #9 R&B)

"I Love You," People
(#14 US)

"Shoo-Be-Doo-Be-Doo-Da-Day," Stevie Wonder
(#9 US; #1 R&B; #46 UK)

"Mony Mony," Tommy James & The Shondells

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(#3 US; #1 UK)


And new on the boob tube:

• The Ed Sullivan Show, Season 20, episode 30, featuring Smokey Robinson & the Miracles and Frankie Laine
• Rowan & Martin's Laugh-In, Season 1, episode 10
• The Avengers, "The Curious Case of the Countless Clues" *
• Ironside, "Return of the Hero" (season finale)
• Get Smart, "The Reluctant Redhead" (season finale)

* Not available for review at this time.

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The subject of April's installment of Decades Presents: 1968 is Martin Luther King Jr. The new episode airs this week on Monday and Wednesday nights (though Comcast is erroneously listing it as a rerun of the January episode).

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[Christopher]

Wow -- 2001 and Planet of the Apes came out on consecutive days?

 

[The Old Mixer]

Wow -- 2001 and Planet of the Apes came out on consecutive days?

More or less. 2001 was only available in Cinerama in a small number of cities until its general release in Autumn.

I'm planning to take my time getting to both films, to give each the attention it deserves.

 

[The Old Mixer]

"And you may be right... but back to the music." It's interesting to see the dissection of someone with his knowledge and talent, from the perspective of the moment in real time that it's happening. He's in the unique position of being outside and inside at the same time.

That's just an excerpt. The full special is here:

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It's pretty good. Janis Ian "performs" (obviously lip-synching) just after they cut off the other video.

I've seen that clip before, and it still does not erase his specific attention paid to The Who & their Tommy, and why it justifies their bronze medal level of 60s acts.

I acknowledged that they'd arrived by the turn of the decade...but the Beatles and the Stones owned the decade. You can put a lot of qualifiers in to justify it, but with all the great and influential artists in the '60s, placing the Who third to those two seems like an odd fit. Commercially, the Supremes would belong up there with the Beatles and Stones; influentially, Dylan (and you'd have to sell me on the Stones belonging up there with him and the Beatles).