The Classic/Retro Pop Culture Thread

[TREK_GOD_1]

What you choose to count is up to you, but I find that it's not nearly so clear-cut when a movie or single is released late in one calendar year and sees most of its action the following. This is often recognized in retrospectives of the era...e.g., CNN's 1968 series and TIME's 1968 special issue covered The Graduate as a de facto 1968 film because most of its theater run was in that year.

CNN would be incorrect (not uncommon for that channel). When a film is planned for release at a certain time, it simply means it is one of the movies of that year. A settled release date is not fluid where December of one year randomly becomes January-forward of the following year, hence the reason Superman II is a 1980 film, or Star Trek - The Motion Picture (released 12/7/1979) was and will ever be accurately categorized as one of the films of 1979.

The point focused on McQueen being far above contemporaries in 1968 as a point in the review of The Thomas Crown Affair; you posted a list of stars who made more money than McQueen (which was not the point of noting his status in 1968), but each star's film earned less than McQueen's in the year in question. In fact, in Eastwood's case, his biggest film that year--Where Eagles Dare--was not really an Eastwood film, but an on-request, Alistair MacLean-penned vehicle for Richard Burton, so Eastwood cannot receive full credit for the film being "his", while John Wayne's biggest earner still fell short of Bullitt, which means the original point:

McQueen at the height of his popularity. There was not another star anywhere near that level in 1968.

...stands.

 

[The Old Mixer]

which means the original point:

...stands.

No it doesn't, because if we could determine its 1968 box office, The Graduate probably made more money in 1968 than Steve McQueen's films did. Money made in 1968 is money made in 1968, regardless of when the film came out.

 

[The Old Mixer]

55 years ago today:

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[TREK_GOD_1]

No it doesn't, because if we could determine its 1968 box office, The Graduate probably made more money in 1968 than Steve McQueen's films did. Money made in 1968 is money made in 1968, regardless of when the film came out.

Again, The Graduate is not nor will it ever be a 1968 movie no matter how much you wish to roll over its performance. It has no bearing on films planned and released in a specific year, or its star's related success (the point all along), and in regards to other performers with films released in 1968, they have all been proven to have not matched McQueen's.

As noted yesterday, When a film is planned for release at a certain time, it simply means it is one of the movies of that year. A settled release date is not fluid where December of one year randomly becomes January-forward of the following year, hence the reason Superman II is a 1980 film, or Star Trek - The Motion Picture (released 12/7/1979) was and will ever be accurately categorized as one of the films of 1979, and The Graduate is only listed as one of the films of 1967--not 1968..

 

[The Old Mixer]

Nobody's disputing the release date. Are you disputing that The Graduate was in theaters and making money in 1968?

A film having been released in 1967 wouldn't have retroactively turned 1968 box office intake into 1967 box office intake. The money from 1968 ticket sales didn't travel backward in time.

When you said...

There was not another star anywhere near that level in 1968.

...you didn't say anything about movie release dates. You made a general assertion about McQueen's star power in the year 1968 easily surpassing that of anyone else.

If The Graduate made more money in 1968 than McQueen's films did in 1968, would that not mean that Hoffman was a star near, at, or surpassing McQueen's level in 1968?

 

[J.T.B.]

If The Graduate made more money in 1968 than McQueen's films did in 1968, would that not mean that Hoffman was a star near, at, or surpassing McQueen's level in 1968?

I would say no. There's more to being a star than box office in a given year. Hoffman was in his breakout role. McQueen was The Magnificent Seven, The Great Escape, The Cincinnati Kid. Cover of Life magazine and subject of countless articles. McQueen (Solar Productions) had a six picture production deal (to star in three) with Warner Bros. He picked the director for Bullitt.

A few years later, Hoffman would get co-billing with McQueen for Papillon. But in 1968, he wasn't there yet.

 

[The Old Mixer]

_______

50 Years Ago This Week

June 30 – The Lockheed C-5 Galaxy heavy military transport aircraft first flies in the U.S. This model will still be in service 40 years later.

July 1

• The Central Intelligence Agency's Phoenix Program is officially established.
• The Nuclear Non-Proliferation Treaty opens for signature.

July 4 – Yachtsman Alec Rose, 59, receives a hero's welcome as he sails into Portsmouth, England after his 354-day round-the-world trip.

July 1: John and Yoko attend the grand opening of John's first full art exhibition, You Are Here at the Robert Fraser Gallery, London. John marks the opening with the release of 365 helium-filled balloons over London.
July 5: John sells his psychedelically painted Rolls Royce.

https://www.rollingstone.com/music/...antom-v-the-psychedelic-beatle-mobile-w494054


Selections from Billboard's Hot 100 for the week, with a Bubbling Under bonus:

1. "This Guy's in Love with You," Herb Alpert
2. "The Horse," Cliff Nobles & Co.
3. "Jumpin' Jack Flash," The Rolling Stones
4. "The Look of Love," Sergio Mendes & Brasil '66
5. "Grazing in the Grass," Hugh Masekela
6. "Lady Willpower," Gary Puckett & The Union Gap
7. "Angel of the Morning," Merrilee Rush & The Turnabouts
8. "Here Comes the Judge," Shorty Long
9. "MacArthur Park," Richard Harris
10. "Reach Out of the Darkness," Friend & Lover
11. "Yummy, Yummy, Yummy," Ohio Express
12. "Mony Mony," Tommy James & The Shondells
13. "Mrs. Robinson," Simon & Garfunkel
14. "Think," Aretha Franklin
15. "Indian Lake," The Cowsills
16. "I Love You," People
17. "Stoned Soul Picnic," The 5th Dimension
18. "Licking Stick (Part 1)," James Brown & The Famous Flames
19. "D. W. Washburn," The Monkees
20. "Never Give You Up," Jerry Butler

22. "She's a Heartbreaker," Gene Pitney
23. "Hurdy Gurdy Man," Donovan
24. "Here Comes the Judge," Pigmeat Markham
25. "(You Keep Me) Hangin' On," Joe Simon
26. "Choo Choo Train," The Box Tops
27. "Tip-Toe Thru' the Tulips with Me," Tiny Tim
28. "The Good, the Bad and the Ugly," Hugo Montenegro, His Orchestra & Chorus
29. "Sky Pilot," Eric Burdon & The Animals
30. "Some Things You Never Get Used To," Diana Ross & The Supremes
32. "Folsom Prison Blues," Johnny Cash
33. "Tighten Up," Archie Bell & The Drells
34. "Pictures of Matchstick Men," The Status Quo
35. "I Could Never Love Another (After Loving You)," The Temptations
36. "Ain't Nothing Like the Real Thing," Marvin Gaye & Tammi Terrell
37. "I'm a Midnight Mover," Wilson Pickett
38. "Face It Girl, It's Over," Nancy Wilson

41. "A Man without Love (Quando M'innamoro)," Engelbert Humperdinck
42. "Don't Take It So Hard," Paul Revere & The Raiders
43. "Turn Around, Look at Me," The Vogues
44. "Autumn of My Life," Bobby Goldsboro

46. "A Beautiful Morning," The Rascals
47. "Stay in My Corner," The Dells

52. "Sunshine of Your Love," Cream

55. "Classical Gas," Mason Williams

64. "Journey to the Center of the Mind," The Amboy Dukes

77. "Hello, I Love You," The Doors

79. "Sealed with a Kiss," Gary Lewis & The Playboys

85. "The Eyes of a New York Woman," B.J. Thomas

88. "Alice Long (You're Still My Favorite Girlfriend)," Tommy Boyce & Bobby Hart

94. "Dream a Little Dream of Me," Mama Cass w/ The Mamas & The Papas

99. "(Love Is Like a) Baseball Game," The Intruders

116. "What a Wonderful World," Louis Armstrong

Leaving the chart:

• "Do You Know the Way to San Jose," Dionne Warwick
• "Honey," Bobby Goldsboro
• "If I Were a Carpenter," Four Tops
• "Like to Get to Know You," Spanky & Our Gang
• "Master Jack," Four Jacks and a Jill
• "Shoo-Be-Doo-Be-Doo-Da-Day," Stevie Wonder

Re-entering the chart:

• "Sunshine of Your Love," Cream

New on the chart:

"Alice Long (You're Still My Favorite Girlfriend)," Tommy Boyce & Bobby Hart

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(#27 US)

"(Love Is Like a) Baseball Game," The Intruders

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(#26 US; #4 R&B)

"Dream a Little Dream of Me," Mama Cass w/ The Mamas & The Papas

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(#12 US; #2 AC; #11 UK)

"Hello, I Love You," The Doors

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(#1 US the weeks of Aug. 3 and 10, 1968; #15 UK)


Bubbling Under:

"What a Wonderful World," Louis Armstrong

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(#116 US; #12 AC; #1 UK)

_______

This Week's Scheduled Catch-Up Viewing:

• 12 O'Clock High, "The All-American" (Oct. 28, 1966)
• 12 O'Clock High, "The Pariah" (Nov. 4, 1966)

_______

I would say no. There's more to being a star than box office in a given year. Hoffman was in his breakout role. McQueen was The Magnificent Seven, The Great Escape, The Cincinnati Kid. Cover of Life magazine and subject of countless articles. McQueen (Solar Productions) had a six picture production deal (to star in three) with Warner Bros. He picked the director for Bullitt.

A few years later, Hoffman would get co-billing with McQueen for Papillon. But in 1968, he wasn't there yet.

I'd generally accept that as a fair assessment, but if we're taking prior years in an actor's career into account, that throws @TREK_GOD_1 's 1968-specific methodology out the window...you'd have to take into account then-working cinematic legends like John Wayne, regardless of how well their 1968 movies did.

Do you agree with @TREK_GOD_1 's basic statement?

There was not another star anywhere near that level in 1968.

_______

ETA

Tuesday on Through the Decades, we remember the 1969 death of rock and roll legend Jim Morrison.

Umm...
What's worse, they then show a picture of his tombstone.

 

[RJDiogenes]

"Alice Long (You're Still My Favorite Girlfriend)," Tommy Boyce & Bobby Hart

I never heard this before. It's kind of nice.

"(Love Is Like a) Baseball Game," The Intruders

Silly. I thought it was Ray Parker Jr at first.

"Dream a Little Dream of Me," Mama Cass w/ The Mamas & The Papas

Very nice.

"Hello, I Love You," The Doors

Possibly my favorite Doors song.

"What a Wonderful World," Louis Armstrong

I absolutely love this one.

Umm...
What's worse, they then show a picture of his tombstone.

Holy Toledo. Who's "we?" Visitors from an alternate timeline?

 

[TREK_GOD_1]

I would say no. There's more to being a star than box office in a given year. Hoffman was in his breakout role. McQueen was The Magnificent Seven, The Great Escape, The Cincinnati Kid. Cover of Life magazine and subject of countless articles. McQueen (Solar Productions) had a six picture production deal (to star in three) with Warner Bros. He picked the director for Bullitt.

A few years later, Hoffman would get co-billing with McQueen for Papillon. But in 1968, he wasn't there yet.

All true. In 1968, McQueen was at the height of his powers with a history that more than justified his popularity and 1968 films' outperforming the listed competition that year. No one, not Newman, Poitier, Wayne, Andrews or Eastwood matched him in '68.

To your point about his overall appeal, this is is also the same McQueen who was nominated for an Academy Award for Best Actor for The Sand Pebbles in 1966--another hit film for McQueen, so to say he was major would be an understatement.

New on the chart:

"Alice Long (You're Still My Favorite Girlfriend)," Tommy Boyce & Bobby Hart
(#27 US)

Despite its chart placement, it's not one of their most memorable songs.

"Dream a Little Dream of Me," Mama Cass w/ The Mamas & The Papas
(#12 US; #2 AC; #11 UK)

She could not escape this being her signature song..then again, her constantly performing it during her brief solo career only continued to tie her to it.

"Hello, I Love You," The Doors
(#1 US the weeks of Aug. 3 and 10, 1968; #15 UK)

This driving, grooving song is my second favorite Doors song after "Riders on the Storm".

Bubbling Under:
"What a Wonderful World," Louis Armstrong
(#116 US; #12 AC; #1 UK)

Beautiful message in a surprisingly melancholy song.

 

[J.T.B.]

I'd generally accept that as a fair assessment, but if we're taking prior years in an actor's career into account, that throws @TREK_GOD_1 's 1968-specific methodology out the window...you'd have to take into account then-working cinematic legends like John Wayne, regardless of how well their 1968 movies did.

Do you agree with @TREK_GOD_1 's basic statement?

I'd say McQueen is either number one or two. There were just a few in the zenith of their careers at that specific point, when they had not only some great roles but maximum power and influence in the industry. Though he didn't do much memorable between Cool Hand Luke and Butch Cassidy, Paul Newman was maybe bigger, with critical and popular acclaim. Lee Marvin was also really big, with a best actor Oscar, though his now-acclaimed Point Blank project was not a financial success like Bullitt. Peter O'Toole certainly, he was still kind of a newcomer for Hollywood, though. McQueen was a little younger than Newman and Marvin, and was enough of a "character" to get a lot of press attention. Steve McQueen was BIG.

Who else? Brando was in a low period. Gregory Peck, Kirk Douglas, Burt Lancaster, William Holden, Robert Mitchum and a few others born in the 19-teens were thought to have already peaked. Sean Connery was known mainly for a single role. Jack Lemmon and Rod Steiger were considered more character actors. Clint Eastwood hadn't got out of the Spaghetti Western niche. James Garner had some strong roles but still often played a variation on Maverick. Warren Beatty had worked a lot but was just breaking into major stardom. I've probably overlooked someone obvious.

Wayne was probably the only one of his generation still getting lead roles. Cary Grant had retired. Henry Fonda was working but mostly in supporting parts, had to go to Leone to get a challenging role. But studios weren't making multi-picture deals with John Wayne.

To your point about his overall appeal, this is is also the same McQueen who was nominated for an Academy Award for Best Actor for The Sand Pebbles in 1966--another hit film for McQueen, so to say he was major would be an understatement.

True, a high-prestige road show picture.

 

[The Old Mixer]

I never heard this before. It's kind of nice.

Despite its chart placement, it's not one of their most memorable songs.

Their only other Top 30 hit as performers besides the better-known "I Wonder What She's Doing Tonight". I'd intended to get this one, but it's not available for download.

They did have one other hit predating both that barely squeaked into the Top 40...and apparently they played it on...well, see for yourself:

"Out and About"

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(Charted July 15, 1967; #39 US)

All that and Phil Spector, too...though his assessment of the song's hitmaking potential had already been disproven when the episode aired in October '67.

Silly. I thought it was Ray Parker Jr at first.

Not hearing it myself...but another "their only other Top 30 single," though the Intruders had several other singles that performed well on the R&B chart. This one has a nice sound, but that's about it for me.

Very nice.

She could not escape this being her signature song..then again, her constantly performing it during her brief solo career only continued to tie her to it.

It was her only Top 20 hit. It seems we have a #30 coming our way next year that I don't have yet. This will be the last Top 30 single (partly) credited to the Mamas & the Papas.

This song has a memorable bit of history for me. I heard it once when I'd just started listening to oldies radio, then became mildly obsessed with knowing what the song was and who it was by, before it finally came up again over a year later and my curiosity was satisfied.

Possibly my favorite Doors song.

That means a lot coming from somebody who dislikes the Doors as much as you don't seem to after all....

This driving, grooving song is my second favorite Doors song after "Riders on the Storm".

And their second of two #1's.

I absolutely love this one.

Beautiful message in a surprisingly melancholy song.

This is a very nice one, though its in-the-moment impact was oversold by Decades (whose historical accuracy is becoming increasingly questionable). It's a pity that it didn't do better in its time, because by my weekly playlist methodology, it's only going to be around for one week.

Holy Toledo. Who's "we?" Visitors from an alternate timeline?

I have to wonder if the adage "if you can remember the '60s, you weren't there" applies to misremembering the early '70s as the '60s....

Decades has a Greatest American Hero Weekend Binge scheduled for July 14-15, if anybody's interested. (I catch enough of it in the background on H&I.)

They're also going to be doing a Twilight Zone marathon on July 4, though I'm pretty sure it wasn't it in their online schedule for that day whenever I checked it in advance.

The new installment of Decades Presents: 1968 that will be airing Monday night will be "On the Move," a broader topic that includes the year's rather significant contributions to the Space Race.

 

[Shaka Zulu]

She could not escape this being her signature song..then again, her constantly performing it during her brief solo career only continued to tie her to it.

Elliot had another song, namely 'Sing Your Own Kind of Music' which she debuted on one of her last TV variety specials (remember those?) in 1972 sometime before her (IMHO) tragic preventable death.

 

[The Old Mixer]

^ I'm finding a "Make Your Own Kind of Music" that charted in Oct. '69 and got to #36 (#6 AC).

 

[Shaka Zulu]

^ I'm finding a "Make Your Own Kind of Music" that charted in Oct. '69 and got to #36 (#6 AC).

Oh...

Thanks for the correction and info.

She was still a pretty and classy lady (with pretty....pedal extremities) and I'm sorry she's gone.

 

[RJDiogenes]

"Out and About"

Adequate song, lovely drummer.

All that and Phil Spector, too...though his assessment of the song's hitmaking potential had already been disproven when the episode aired in October '67.

Another alternate universe.

This song has a memorable bit of history for me. I heard it once when I'd just started listening to oldies radio, then became mildly obsessed with knowing what the song was and who it was by, before it finally came up again over a year later and my curiosity was satisfied.

Ah, the good old days-- when you couldn't just whip out your phone and access all of human history.

That means a lot coming from somebody who dislikes the Doors as much as you don't seem to after all....

Well, it's not like I hate them. I just don't get their superstar status. Also, I'm pretty used to them at this point. And I do like "Riders On The Storm."

This is a very nice one, though its in-the-moment impact was oversold by Decades (whose historical accuracy is becoming increasingly questionable).

Yeah, they seem short on oversight.

I have to wonder if the adage "if you can remember the '60s, you weren't there" applies to misremembering the early '70s as the '60s....

They should definitely use that as their excuse.

Decades has a Greatest American Hero Weekend Binge scheduled for July 14-15, if anybody's interested. (I catch enough of it in the background on H&I.)

Not really a favorite of mine.

They're also going to be doing a Twilight Zone marathon on July 4, though I'm pretty sure it wasn't it in their online schedule for that day whenever I checked it in advance.

Interesting. Twilight Zone seems to be becoming the go-to show for holidays, which is great. I'll probably have History Channel on, because they usually show one of their American Revolution series.

Elliot had another song, namely 'Sing Your Own Kind of Music' which she debuted on one of her last TV variety specials (remember those?) in 1972 sometime before her (IMHO) tragic preventable death.

Another great song (regardless of the year ).

 

[The Old Mixer]

Adequate song, lovely drummer.

Can't say I disagree. In the context of the times, she comes off as a little too "straight person trying to act hip," but she still looks good doing it. And it's not like Boyce & Hart were the wildmen of late '60s rock.

Well, it's not like I hate them. I just don't get their superstar status. Also, I'm pretty used to them at this point. And I do like "Riders On The Storm."

Alright, I just thought we had a good running gag going about your ambiguous appreciation of the Doors.

Yeah, they seem short on oversight.

Caught the same spot today and they edited out the "1969"...somebody must have belatedly gotten the memo.

Not really a favorite of mine.

I haven't been watching it with attention, but one element of the show that I appreciate when I do catch some of it, that wouldn't have meant anything to me as a kid, is the All in the Family-style dynamic between the youthful, liberal, idealistic Ralph and Pam (I believe one episode established that Ralph was an ex-hippie) and the older, conservative, cynical Bill Maxwell.

Interesting. Twilight Zone seems to be becoming the go-to show for holidays, which is great. I'll probably have History Channel on, because they usually show one of their American Revolution series.

I don't get SyFy these days, so I miss the New Year's TZ marathons.

Another great song (regardless of the year ).

Since it probably won't be coming up in the weekly posts/playlist because of chart position:

Spoiler: 1969

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[RJDiogenes]

Can't say I disagree. In the context of the times, she comes off as a little too "straight person trying to act hip," but she still looks good doing it. And it's not like Boyce & Hart were the wildmen of late '60s rock.

Well, Jeannie had that innocent quality, despite her rebellious personality.

Alright, I just thought we had a good running gag going about your ambiguous appreciation of the Doors.

[addendum]....and I'm always afraid my Sister will come up behind me and hit me. [/addendum]

I haven't been watching it with attention, but one element of the show that I appreciate when I do catch some of it, that wouldn't have meant anything to me as a kid, is the All in the Family-style dynamic between the youthful, liberal, idealistic Ralph and Pam (I believe one episode established that Ralph was an ex-hippie) and the older, conservative, cynical Bill Maxwell.

Robert Culp was the best part of the show. About the only thing I remember is one episode where there's a bomb at a Rock concert and he stops it somehow, and Hero Guy says, "You saved the concert! And you don't even like Rock'n'Roll!" Robert Culp just grumbles, "I don't even like music."

Since it probably won't be coming up in the weekly posts/playlist because of chart position:

Spoiler: 1969

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Yup, that's a beauty.

 

[TREK_GOD_1]

I'd say McQueen is either number one or two. There were just a few in the zenith of their careers at that specific point, when they had not only some great roles but maximum power and influence in the industry. Though he didn't do much memorable between Cool Hand Luke and Butch Cassidy, Paul Newman was maybe bigger, with critical and popular acclaim. Lee Marvin was also really big, with a best actor Oscar, though his now-acclaimed Point Blank project was not a financial success like Bullitt. Peter O'Toole certainly, he was still kind of a newcomer for Hollywood, though. McQueen was a little younger than Newman and Marvin, and was enough of a "character" to get a lot of press attention. Steve McQueen was BIG.

Yep. That's a good assessment of all of the actors at that point in time. Of them all, McQueen was on a steady rise that would not see any leveling off (critically) at least until (arguably) Le Mans in 1971.

Who else? Brando was in a low period

Practically a non-entity at this point, starring in nonsensical dream exercises (The Night of the Following Day), and for Brando, the requisite sexual explorations (Candy - 1968) and political commentary (Burn! - 1969). He was making films, but none brought him back to his early heyday. That event was still several years in the future.

Gregory Peck, Kirk Douglas, Burt Lancaster, William Holden, Robert Mitchum and a few others born in the 19-teens were thought to have already peaked.

True. Peck and Mitchum would enjoy a career revival long after this period--in the 1970's with Mitchum starring in Going Home (1971), The Friends of Eddie Coyle (1973) and Midway! (1976), and Peck in the Richard Donner blockbuster / classic The Omen (1976) - often cited as the film that revived his career, along with his Golden Globe-nominated performances in MacArthur (1977) and The Boys from Brazil (1978). Each actor simply moved on to roles that broke the mold of what made them famous.

Sean Connery was known mainly for a single role

..and try as he did, his non-Bond roles did not separate him from the signature part--even in a powerful role in The Hill (1964), or an unexpected turn in the western Shalako (1969).

Wayne was probably the only one of his generation still getting lead roles. Cary Grant had retired. Henry Fonda was working but mostly in supporting parts, had to go to Leone to get a challenging role. But studios weren't making multi-picture deals with John Wayne.

In '68, Wayne was fortunate his Green Berets had the benefit of being released in a year where there was still good business in appealing to the side of the country still buying into Vietnam being some sort of "noble" campaign. If he waited just a couple of years, the film would have been a massive flop.

True, a high-prestige road show picture.

Easily one of Robert Wise's best films.

They did have one other hit predating both that barely squeaked into the Top 40...and apparently they played it on...well, see for yourself
"Out and About"
(Charted July 15, 1967; #39 US)

I remember that episode...and how Barbara Eden was completely unbelievable with her careful-not-to-screw-up drumming!

All that and Phil Spector, too...though his assessment of the song's hitmaking potential had already been disproven when the episode aired in October '67.

A lot of creepy in that episode. I'm betting Spector did not try to make a move on Eden, for fear of earning the wrath of her husband, Michael Ansara.

This is a very nice one, though its in-the-moment impact was oversold by Decades (whose historical accuracy is becoming increasingly questionable). It's a pity that it didn't do better in its time, because by my weekly playlist methodology, it's only going to be around for one week.

Odd that it did not have a greater impact at the time.

They're also going to be doing a Twilight Zone marathon on July 4, though I'm pretty sure it wasn't it in their online schedule for that day whenever I checked it in advance.

SyFy already started their TZ marathon today.

Elliot had another song, namely 'Sing Your Own Kind of Music' which she debuted on one of her last TV variety specials (remember those?) in 1972 sometime before her (IMHO) tragic preventable death.

Preventable? Well, her morbid obesity could have been treated, but if you add in its effects on the heart and lungs, then the drug use noted by John Phillips and David Crosby (among others), then a woman of that size created a lethal internal cocktail she was not likely to escape. Either way, it was a sad end for one of the more inoffensive pop stars of any era.

 

[The Old Mixer]

Well, Jeannie had that innocent quality, despite her rebellious personality.

In a situation like that, I'm seeing Barbara Eden, not Jeannie.

I remember that episode...and how Barbara Eden was completely unbelievable with her careful-not-to-screw-up drumming!

OTOH, that part I'm willing to attribute to Jeannie.

SyFy already started their TZ marathon today.

But do they have a snazzy name for it like "Rod, White & Blue"?

 

[RJDiogenes]

SyFy already started their TZ marathon today.

Cool. I can have it on for a while then, before I switch over.

Either way, it was a sad end for one of the more inoffensive pop stars of any era.

Very sad indeed.

In a situation like that, I'm seeing Barbara Eden, not Jeannie.

Yeah, true, I suppose.

But do they have a snazzy name for it like "Rod, White & Blue"?

Nice. It just better not be "Twilight Zone's last gleaming."