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The Classic/Retro Pop Culture Thread

_______

Dragnet 1967

"The Subscription Racket"
Originally aired April 20, 1967
Xfinity said:
A swindling magazine-subscription salesman uses an authentic Congressional Medal of Honor for his credentials.

Sgt. Joe Friday said:
This is the city: Los Angeles, California. It's a big city with a big heart, and it offers a lot: museums, libraries, galleries, playgrounds, beaches, valleys, and mountains. Angelenos are proud of our new Griffith Park Zoo, which houses animals from all over the world. The King of Beasts...and his jester [chimpanzee]; the proud [giraffe]...and the profane [jackal]. Not all of the wolves and jackals who come to Los Angeles are in the zoo. A lot of 'em wind up in the city jail; my job is to put 'em there. I carry a badge.

Tuesday, January 17 (1967 again!): Friday and Gannon are working the day watch out of Frauds Division, Bunco Section. Friday is substituting for another detective who's busy on another case in taping an appearance on a nighttime talk show. He's nervous about going on camera, but does fine, using props--a rubber snake and a bogus money-printing machine--to demonstrate some typical bunco scams. This appears to be a purely expository scene, but serves a purpose in setting up the story: after the taping, a film cutter in the studio tells Friday about how his wife has been buying a lot of magazine subscriptions, and asks Friday if it's a racket. From his description, Friday thinks it is, and goes to the man's home to question his wife.

At the Tate home, Gannon finds some code written on the picket fence to tip off other confidence men. At the door, Mrs. Tate (whom Friday calls Miss Tate for some reason) misidentifies Friday as Sgt. Sunday. She conveys how she's been buying subscriptions for herself and supposedly for servicemen, from a young man claiming to be a Congressional Medal of Honor-winning Marine and a lovely young nursing student.

Over the next few days, the detectives identify the male seller as Glenn Procustan (Brian Avery), a dishonorably discharged Marine with an arrest record whose father had won the medal posthumously. They also discover that he made out a check from Mrs. Tate that was supposed to be for $50, but was cashed for $500.

Friday and Gannon track down Procustan's former employer, Benson (Larry D. Mann), who'd pressed charges against Procustan. He's clearly a shady operator himself, but is willing to lead them to Procustan and his girlfriend, Norma Bryant (Marianne Gordon), the one who's been posing as a nursing student. When they find Procustan, he insists that Benson was framing him when he pressed the charges, and admits to stretching the truth in his sales, but not to raising the check; it turns out that Norma, now his wife, was the one who did that, so that they could get out of the racket that much sooner.

The Announcer said:
The suspect was found guilty on three counts of grand theft. Grand theft is punishable by imprisonment in the county jail for not more than one year, or in the state prison for not more than ten years.
Dragnet23.jpg
The suspect was found guilty on three counts of grand theft and one count of forgery.
Dragnet24.jpg
Pete Benson and his magazine crew were tried in municipal court for the County of Los Angeles and were found guilty of fraudulent solicitation. Under the Los Angeles municipal code, fraudulent solicitation is a misdemeanor punishable by six months imprisonment or a $500 fine or both. Pete Benson received the maximum punishment. The sentences of his crew were suspended.
Dragnet25.jpg


"The Big Gun"
Originally aired April 27, 1967
Xfinity said:
Friday and Gannon investigate the death of a Japanese-born widow.

Sgt. Joe Friday said:
This is the city: Los Angeles, California. In 1920 the population was 576,673. Today, Los Angeles is the third largest city in the United States--nearly three million people live here. From every nation Los Angeles draws its bloodline. When some of that blood is spilled, I go to work. I carry a badge.

Tuesday, August 16 (1966): Friday and Gannon are working the day watch out of Homicide Division when they're assigned to investigate the murder of a 26-year-old woman named Reiko Hashimoto, who was shot in the head and heart. A neighbor wearing a nurse's uniform tells them that Reiko's Japanese-American husband was killed in Vietnam, and that Reiko has a 5-year-old daughter who's staying with Reiko's mother. As the investigation of the scene continues, Friday starts getting short with one of the investigators and Gannon accuses him of letting it get personal. Outside, Friday has a smoke while engaging in a reflective voiceover, but that's as far as the angle goes.

The detectives have been working the case for nearly two weeks when they spot a pickup truck at a neighboring home that matches the description of one whose driver had been reported as having raped a woman at gunpoint nearby on the day of the murder. They arrest the man but have nothing to connect him to the murder, so they search the home where he was living, whose owner is an outspokenly devout church-goer who supports her tenant as a repentant sinner, seems less concerned about the victims, and accuses the detectives of being the devil's disciples for searching her house. After several searches involving multiple pairs of detectives, Gannon finds a .45 caliber revolver that's been fired recently, hidden in a drawer with a false bottom.
Friday said:
Y'know, if you could cook, I'd marry ya.
Back at HQ, the forensics man verifies that the gun matches a slug found at the crime scene.

The detectives return to the Hashimoto home to meet the victim's mother and daughter, who've just come back after learning of Reiko's death. Little Miko offers Friday her favorite doll, but Friday has to refuse it, saying that just the thought is enough.

The Announcer said:
The suspect was found guilty of murder in the first degree. Murder in the first degree is punishable by death, or confinement in the state prison for life.
Dragnet26.jpg

_______

Surprising that Life and M'Lady didn't make Billboard's R&B charts.
Was just listening to those on the Essentials collection I bought...I can hear why "M'Lady" didn't do better...sounds a bit too much like a knockoff of "Dance to the Music".
 
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"The Subscription Racket"
We had that racket in High School. :rommie:

This appears to be a purely expository scene, but serves a purpose in setting up the story: after the taping, a film cutter in the studio tells Friday about how his wife has been buying a lot of magazine subscriptions, and asks Friday if it's a racket.
That seems like an unusual plot device for Dragnet, for Friday to get a tip from a co-worker like that.

At the Tate home, Gannon finds some code written on the picket fence to tip off other confidence men.
That seems odd (although I trust Dragnet implicitly ;))-- you'd think that con men, unlike hobos, would see each other as competition.

As the investigation of the scene continues, Friday starts getting short with one of the investigators and Gannon accuses him of letting it get personal. Outside, Friday has a smoke while engaging in a reflective voiceover, but that's as far as the angle goes.
Interesting. There's no indication why Friday would take it personally? Because her husband was a vet, maybe? It's a grisly murder, but Joe Friday has seen it all at this point.

Back at HQ, the forensics man verifies that the gun matches a slug found at the crime scene.
So presumably the motive was attempted rape? It doesn't sound like they knew each other.
 
_______

55 Years Ago This Week

Wiki said:
April 8
  • Gemini 1 is launched, the first unmanned test of the 2-man spacecraft.
  • From Russia with Love premiers in U.S. movie theaters.
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Selections from Billboard's Hot 100 for the week:
1. "Can't Buy Me Love," The Beatles
2. "Twist and Shout," The Beatles
3. "Suspicion," Terry Stafford
4. "She Loves You," The Beatles
5. "Hello, Dolly!," Louis Armstrong & The All Stars
6. "The Shoop Shoop Song (It's in His Kiss)," Betty Everett
7. "I Want to Hold Your Hand," The Beatles
8. "Glad All Over," The Dave Clark Five
9. "Please Please Me," The Beatles
10. "Don't Let the Rain Come Down (Crooked Little Man)," The Serendipity Singers
11. "The Way You Do the Things You Do," The Temptations

13. "Needles and Pins," The Searchers
14. "Do You Want to Know a Secret," The Beatles
15. "Dead Man's Curve," Jan & Dean
16. "Stay," The Four Seasons
17. "You're a Wonderful One," Marvin Gaye
18. "Fun, Fun, Fun," The Beach Boys
19. "Money," The Kingsmen
20. "Ain't Nothing You Can Do," Bobby Bland
21. "Dawn (Go Away)," The Four Seasons
22. "Bits and Pieces," The Dave Clark Five
23. "That's the Way Boys Are," Lesley Gore
24. "Hippy Hippy Shake," The Swinging Blue Jeans

26. "My Guy," Mary Wells
27. "White on White," Danny Williams
28. "Hey, Bobba Needle," Chubby Checker
29. "Nadine (Is It You?)," Chuck Berry
30. "Hi-Heel Sneakers," Tommy Tucker
31. "Java," Al (He's the King) Hirt
32. "The Matador," Major Lance

34. "Kissin' Cousins," Elvis Presley

38. "I Saw Her Standing There," The Beatles
39. "We Love You Beatles," The Carefrees

41. "It Hurts Me," Elvis Presley

43. "Navy Blue," Diane Renay

48. "You Can't Do That," The Beatles

50. "All My Loving," The Beatles
51. "I'm So Proud," The Impressions
52. "From Me to You," The Beatles
53. "Wish Someone Would Care," Irma Thomas

59. "Ronnie," The Four Seasons
60. "My Girl Sloopy," The Vibrations
61. "Thank You Girl," The Beatles
62. "Stay Awhile," Dusty Springfield

72. "The Pink Panther Theme," Henry Mancini & His Orchestra

74. "There's a Place," The Beatles

78. "Roll Over Beethoven," The Beatles

81. "Love Me Do," The Beatles

86. "(Just Like) Romeo & Juliet," The Reflections

90. "It's Over," Roy Orbison


97. "People," Barbra Streisand


Leaving the chart:
  • "A Letter to the Beatles," The Four Preps (3 weeks)
  • "Penetration," The Pyramids (10 weeks)
  • "See the Funny Little Clown," Bobby Goldsboro (13 weeks)

New on the chart:

"There's a Place," The Beatles
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(B-side of "Twist and Shout"; #74 US)

"(Just Like) Romeo & Juliet," The Reflections
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(#6 US; #3 R&B)

"Ronnie," The Four Seasons
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(#6 US)

"Love Me Do," The Beatles
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(#1 US the week of May 30, 1964)

Although not as celebrated as the previous week, this week is also an historic milestone, as the Beatles are at their peak number of songs on the chart: 14

I was planning to drop the count after this achievement, but would there be any interest in watching it wind down?

_______

That seems odd (although I trust Dragnet implicitly ;))-- you'd think that con men, unlike hobos, would see each other as competition.
I guess easy marks are good for sharing.

Interesting. There's no indication why Friday would take it personally? Because her husband was a vet, maybe? It's a grisly murder, but Joe Friday has seen it all at this point.
Nothing very specific. Much was made throughout the episode from various commentators about how young and small and beautiful she was, and there was emphasis on looking at / showing the audience a photo of her repeatedly. Maybe this victim just touched something in Friday.

So presumably the motive was attempted rape? It doesn't sound like they knew each other.
They handwaved that away in the last scene between the detectives and the victim's mother...

Mrs. Watanabe: Why would he want my daughter's life?
Gannon: We don't know, Mrs. Watanabe. Some men just kill.​

In an earlier scene, Friday speculates that Reiko may have been "mauled," if that was supposed to be a euphemism for rape, but he doesn't know at the time and there's never any indication after that. They didn't even say outright that Yoder had raped the other woman until they arrested him. The initial description of the incident just said that she was attacked. And Church Lady says that Yoder was on parole, but if they specified what he had a record for, I didn't catch it.
 
Mistaken identity:
I just knew this one was by Elvis. I mean, it wasn't until YEARS later that I found out this wasn't Elvis. :shrug:
3. "Suspicion," Terry Stafford
I just knew this one was by Tommy James and the Shondells. Years later I found out the truth. :shrug:
24. "Hippy Hippy Shake," The Swinging Blue Jeans
When I'm on Spotify I check out their top 50 lists of songs, but I never see songs that appear as out of the norm as the ones I've listed below. I think all things in pop music are cyclical, but it is hard for me to foresee a time when we'll see outliers like these on the charts. (Full disclosure; haven't checked out the current Billboard charts.)
10. "Don't Let the Rain Come Down (Crooked Little Man)," The Serendipity Singers
72. "The Pink Panther Theme," Henry Mancini & His Orchestra
97. "People," Barbra Streisand
5. "Hello, Dolly!," Louis Armstrong & The All Stars
86. "(Just Like) Romeo & Juliet," The Reflections
OMG, did I love this song, and still do. I bought the "45" back then. But I swear I have a Motown songbook with this song in it, which made me think it was either a Motown production or at least, published by Jobete. Neither of the aforementioned appears to be the case, which makes me wonder why it was in that songbook.

I also thought (back when I first saw it in the songbook), that The Reflections were Motown artists. But, per what I found from Google, the song's only "connection" to Motown appears to have been, that Golden World Records was located in Detroit and there were some Motown musicians playing on the record. Song does have a slight Motown feel to it. Anyway, one of my all time favs.
 
Mistaken identity:
I just knew this one was by Elvis. I mean, it wasn't until YEARS later that I found out this wasn't Elvis. :shrug:
As touched upon upthread the week of its chart debut, it was a cover of an Elvis album track, so the similarity isn't coincidental.

I think all things in pop music are cyclical, but it is hard for me to foresee a time when we'll see outliers like these on the charts. (Full disclosure; haven't checked out the current Billboard charts.)
I was planning to come to the two of those that haven't been covered yet in future posts, but since they've been caught in the spotlight...

"The Pink Panther Theme," Henry Mancini & His Orchestra
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(Apr. 4; #31 US; #10 AC; I'd be interested in Golden Age Squiggy's opinion on this one.)

"People," Barbra Streisand
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(Apr. 4; #5 US; #1 AC)
 
Get Smart
"The Not-So-Great Escape: Part 2"
Originally aired March 29, 1969

And so closes Get Smart's penultimate season. In the Fall it will be moving from NBC to CBS.

...where it could be argued that the series dipped into darker humor. By 1969, the spy craze initiated by the Bond films had definitely faded, despite some productions still trying to milk that dry tit (e.g. The Wrecking Crew--the last of the Matt Helm movies--was released in February of '69). Get Smart was a victim of that, and its 5th and final season shows that, with the old government ineptitude/spy humor no longer working as it had in its first two seasons.

But you had specifically used the term "hits list," which is what I was responding to.

A song can still be great--and a "hit" beyond the arbitrary "top 40" list.

I can believe that he actually believed in it at some level, and felt that it was a message worth delivering, even if it wasn't likely to become practical reality. He was expressing himself as an artist in Yoko's field of conceptual art, which was all new and creatively exciting to him.

Believing that at all in his way (unlike the religious members of the Civil Rights movement--who wisely framed legal rights with the truth of Christian morality as the only way to achieve their goals) was extremely naïve. Its as though he completely missed the fact that the kind of noise sold during the so-called Summer of Love (two years earlier) was not practical in the real world of the 60s (or beyond, for that matter, at least not on any national scale).

And there's what "Morning Girl" is described as on its own Wiki page:
https://en.wikipedia.org/wiki/Baroque_pop

As always, Wiki pages (and their sources) often mischaracterize art. "Sunshine" or "Psychedelic" pop is not how John Stewart composed "Daydream Believer," (or how it was recorded) and "Morning Girl" described as "baroque pop?" That's kind of a stretch. I do hear a direct lineage from the Monkees song to "Morning Girl" and other songs I cited. In other words, "Morning Girl" is not a particularly original song, but one in a short-lived line of this sub-genre.
 
"There's a Place," The Beatles
I'm not familiar with this one. It's pretty good.

"(Just Like) Romeo & Juliet," The Reflections
I love this one.

"Ronnie," The Four Seasons
Not the best of the Four Seasons, but still good.

"Love Me Do," The Beatles
A classic, of course.

I was planning to drop the count after this achievement, but would there be any interest in watching it wind down?
I'd find it interesting, but I don't want to make work for you.

I guess easy marks are good for sharing.
Such altruism among thieves. :rommie:

In an earlier scene, Friday speculates that Reiko may have been "mauled," if that was supposed to be a euphemism for rape, but he doesn't know at the time and there's never any indication after that.
Well, it's 60s TV, so I suppose even Dragnet would be squeamish talking about rape.

Mistaken identity:
I just knew this one was by Elvis. I mean, it wasn't until YEARS later that I found out this wasn't Elvis. :shrug:
I've had a few like that. For a while, I thought that Quarterflash song was Pat Benatar. :rommie:

"The Pink Panther Theme," Henry Mancini & His Orchestra
(Apr. 4; #31 US; #10 AC; I'd be interested in Golden Age Squiggy's opinion on this one.)
:rommie: This is a strong exception to the Golden Age Squiggy Rule. Nothing could improve this masterpiece.

"People," Barbra Streisand
On the other hand, I strongly dislike Barbra Streisand.
 
I also thought (back when I first saw it in the songbook), that The Reflections were Motown artists. But, per what I found from Google, the song's only "connection" to Motown appears to have been, that Golden World Records was located in Detroit and there were some Motown musicians playing on the record.
Okay, mystery solved. And yes, this stayed with me last night. :lol:

Pulled out my old Motown songbook and "Romeo" was definitely there. Song was apparently acquired by Jobete (it appears), in 1971. So, not an original Motown song, but a great acquisition by Berry Gordy.
 
_______

50 Years Ago This Week

April 8 – The Montreal Expos debut as Major League Baseball's first team outside the United States.
April 9
  • The Harvard University Administration Building is seized by close to 300 students, mostly members of the Students for a Democratic Society. Before the takeover ends, 45 will be injured and 184 arrested.
  • Fermín Monasterio Pérez is murdered by the ETA in Biscay, Spain; the 4th victim in the name of Basque nationalism.
Mark Lewisohn's The Beatles Day by Day said:
April 11 – First UK release of the 'Get Back' single, officially credited to the Beatles with Billy Preston.



Selections from Billboard's Hot 100 for the week:
1. "Aquarius/Let the Sunshine In," The 5th Dimension
2. "You've Made Me So Very Happy," Blood, Sweat & Tears
3. "Dizzy," Tommy Roe
4. "Galveston," Glen Campbell
5. "Time of the Season," The Zombies
6. "Only the Strong Survive," Jerry Butler
7. "It's Your Thing," The Isley Brothers
8. "Hair," The Cowsills
9. "Runaway Child, Running Wild," The Temptations
10. "Twenty-Five Miles," Edwin Starr
11. "Rock Me," Steppenwolf
12. "Proud Mary," Creedence Clearwater Revival
13. "Traces," Classics IV feat. Dennis Yost
14. "Hot Smoke & Sasafrass," The Bubble Puppy
15. "Indian Giver," 1910 Fruitgum Co.
16. "Don't Give In to Him," Gary Puckett & The Union Gap
17. "This Girl's in Love with You," Dionne Warwick
18. "Sweet Cherry Wine," Tommy James & The Shondells
19. "Mr. Sun, Mr. Moon," Paul Revere & The Raiders
20. "The Letter," The Arbors
21. "Do Your Thing," The Watts 103rd Street Rhythm Band
22. "My Whole World Ended (The Moment You Left Me)," David Ruffin
23. "Build Me Up Buttercup," The Foundations
24. "Gimme Gimme Good Lovin'," Crazy Elephant
25. "I'll Try Something New," Diana Ross & The Supremes and The Temptations

27. "Brother Love's Traveling Salvation Show," Neil Diamond
28. "The Chokin' Kind," Joe Simon
29. "Time Is Tight," Booker T. & The M.G.'s
30. "Mendocino," Sir Douglas Quintet
31. "Try a Little Tenderness," Three Dog Night
32. "Hawaii Five-O," The Ventures
33. "I Can Hear Music," The Beach Boys

35. "Memories," Elvis Presley

37. "My Way," Frank Sinatra
38. "Things I'd Like to Say," New Colony Six

45. "Wishful Sinful," The Doors
46. "Mercy," Ohio Express

51. "The Boxer," Simon & Garfunkel

54. "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself), Pt. 1" James Brown

60. "Atlantis," Donovan
61. "Pinball Wizard," The Who

66. "These Eyes," The Guess Who

68. "Gitarzan," Ray Stevens
69. "More Today Than Yesterday," Spiral Starecase

72. "Love (Can Make You Happy)," Mercy
73. "Grazing in the Grass," The Friends of Distinction

76. "Badge," Cream

80. "Stand!," Sly & The Family Stone
81. "Good Times Bad Times," Led Zeppelin

86. "Morning Girl," The Neon Philharmonic

91. "Breakfast in Bed," Dusty Springfield

93. "Cissy Strut," The Meters


Leaving the chart:
  • "Baby, Baby Don't Cry," Smokey Robinson & The Miracles (14 weeks)
  • "Don't Forget About Me," Dusty Springfield (6 weeks)
  • "Everyday People," Sly & The Family Stone (19 weeks)
  • "I Got a Line on You," Spirit (12 weeks)
  • "Kick Out the Jams," MC5 (4 weeks)
  • "Sweet Cream Ladies, Forward March," The Box Tops (15 weeks)
  • "The Weight," Aretha Franklin (7 weeks)

New on the chart:

"Breakfast in Bed," Dusty Springfield
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(B-side of "Don't Forget About Me"; #91 US)

"Cissy Strut," The Meters
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(#23 US; #4 R&B)

"Stand!," Sly & The Family Stone
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(#22 US; #14 R&B; #241 on Rolling Stone's 500 Greatest Songs of All Time)

"The Boxer," Simon & Garfunkel
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(#7 US; #3 AC; #6 UK; #105 on Rolling Stone's 500 Greatest Songs of All Time)

"Love (Can Make You Happy)," Mercy
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(#2 US; #2 AC)


And new on the boob tube:
  • Mission: Impossible, "The Vault"
  • The Mod Squad, "Peace Now – Arly Blau"
  • Ironside, "Not with a Whimper, But a Bang" (season finale)

_______

...where it could be argued that the series dipped into darker humor. By 1969, the spy craze initiated by the Bond films had definitely faded, despite some productions still trying to milk that dry tit (e.g. The Wrecking Crew--the last of the Matt Helm movies--was released in February of '69). Get Smart was a victim of that, and its 5th and final season shows that, with the old government ineptitude/spy humor no longer working as it had in its first two seasons.
That could be interesting if true. I wouldn't mind seeing the show mix up its style of humor a bit.

A song can still be great--and a "hit" beyond the arbitrary "top 40" list.
I'm gonna let this go, as I'm sure you must be tired after moving that goalpost.

Believing that at all in his way (unlike the religious members of the Civil Rights movement--who wisely framed legal rights with the truth of Christian morality as the only way to achieve their goals) was extremely naïve. Its as though he completely missed the fact that the kind of noise sold during the so-called Summer of Love (two years earlier) was not practical in the real world of the 60s (or beyond, for that matter, at least not on any national scale).
It was art, not politics. John and Yoko were performing, they weren't running for office.

As always, Wiki pages (and their sources) often mischaracterize art. "Sunshine" or "Psychedelic" pop is not how John Stewart composed "Daydream Believer," (or how it was recorded) and "Morning Girl" described as "baroque pop?" That's kind of a stretch. I do hear a direct lineage from the Monkees song to "Morning Girl" and other songs I cited. In other words, "Morning Girl" is not a particularly original song, but one in a short-lived line of this sub-genre.
So you reject established, recognized sub-genres but invent your own. Accepting for the sake of argument that the other songs were in some way derivative of "Daydream Believer" specifically, I'd say that might classify as a trend, but not a sub-genre.

I'm not familiar with this one. It's pretty good.
If you haven't listened to the Beatles' albums, you should.

I love this one.
It's a nice bit of pop, but I liked the movie better.

Not the best of the Four Seasons, but still good.
Pretty much.

A classic, of course.
In British chronological context, I always felt this was a weak first single for the Fabs (actually, that was a different recording of the song), and that the British record-buying public was more on the money in only pushing it to #17 (reportedly with a lot of help from excessive record orders by Brian Epstein for his store). But for whatever reason, hearing it come up at the peak of early Beatlemania in the States increases my appreciation for it.

I'd find it interesting, but I don't want to make work for you.
No trouble at all. As you might have surmised by now, these posts are a labor of love for me.

I've had a few like that. For a while, I thought that Quarterflash song was Pat Benatar. :rommie:
The other day I heard a DJ on Sirius say that "Itchycoo Park" by Small Faces was sung by Rod Stewart. I used to think the same, but he didn't join the band until years later. Steve Marriott apparently just sounded a lot like him.

:rommie: This is a strong exception to the Golden Age Squiggy Rule. Nothing could improve this masterpiece.
Glad to hear it! :techman:

On the other hand, I strongly dislike Barbra Streisand.
My hobgoblin made me get this, because I dipped into her Top 10 singles from the next couple of decades.
 
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"Breakfast in Bed," Dusty Springfield
This is new to me, and very nice.

"Cissy Strut," The Meters
Golden-Age Squiggy Rule back in effect. :rommie:

"Stand!," Sly & The Family Stone
This is a good one.

"The Boxer," Simon & Garfunkel
I can't tell you how much I love the classic Simon & Garfunkel stuff.

"Love (Can Make You Happy)," Mercy
This is a very nice song. And, speaking of misidentifying things, I would have pegged this as the Stylistics.

It was art, not politics. John and Yoko were performing, they weren't running for office.
I'm going to steal this in the future, if you don't mind. :rommie:

If you haven't listened to the Beatles' albums, you should.
I haven't, and you're right.

It's a nice bit of pop, but I liked the movie better.
:rommie:

But for whatever reason, hearing it come up at the peak of early Beatlemania in the States increases my appreciation for it.
Same here. I'm not quite old enough to remember it when it was new, so it I really only know it as an established classic.

No trouble at all. As you might have surmised by now, these posts are a labor of love for me.
Indeed!
 
On the other hand, I strongly dislike Barbra Streisand.

Okay, I have to ask, because I have a friend, who is also a vocalist--who cannot stand Streisand. What's your reason?

"Breakfast in Bed," Dusty Springfield
(B-side of "Don't Forget About Me"; #91 US)

Not a favorite at all. Sort of a big fall compared to the signature song from the Dusty in Memphis album.

"Stand!," Sly & The Family Stone
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A sound and era-specific feel like no other.

"The Boxer," Simon & Garfunkel

If you have to break up, its best to go out on top. The album it would be featured on--Bridge Over Troubled Water--blew the competition away by being the best selling album three years in a row (1970.1971 and '72), even after the duo had called it quits in 1970. Unlike some albums that were just hits, this one actually had character to it, as opposed to being a collection of "aim for the chart" ditties.

"Love (Can Make You Happy)," Mercy
(#2 US; #2 AC)

Instant standard.

That could be interesting if true. I wouldn't mind seeing the show mix up its style of humor a bit.

Well, from memory, the final season was more miss than hit. Just strange. I would say the highlights (and that's not for the full half-hour of each) were:
  • "The Mess of Adrian Listenger"
  • "The Apes of Rath"
  • "Widow Often Annie"
  • "And Only Two Ninety-Nine"
...and that's about it. Watch for longtime Smart nemesis Siegfried becoming a shadow of his former funny self in his one and only season 5 appearance.

It was art, not politics. John and Yoko were performing, they weren't running for office.

Wha--? That was not strictly "art"; they were certainly political and making statements about social/political issues in this era, including the bed-in business. Lennon effectively put the final touches on transforming himself into a political commentator--the opposite of merely being one of the Beatles.

So you reject established, recognized sub-genres but invent your own. Accepting for the sake of argument that the other songs were in some way derivative of "Daydream Believer" specifically, I'd say that might classify as a trend, but not a sub-genre.

No one is inventing anything, but its not uncommon for songs to be incorrectly categorized--usually due to the biases of the people creating the category. Its the same kind of myopic thinking that has too many rock music history books and sites still making the blanket, incredibly inaccurate judgement that the Monkees music all being of the "bubblegum" variety, when that was provably false from even a casual review of their 1st album. I believe that's the case in categorizing "Morning Girl" in the way presented in the links.

As far as the song goes, all you need to do is listen to the post-"Daydream Believer" songs I listed and tell me if you hear no influence from the Monkees song at all.
 
This is new to me, and very nice.
Not a favorite at all. Sort of a big fall compared to the signature song from the Dusty in Memphis album.
I haven't heard it enough to have a very strong opinion of it yet, but in this case I can revisit it when I get around to reviewing the album.

RJDiogenes said:
Golden-Age Squiggy Rule back in effect. :rommie:
Can't say I'm surprised. These guys are new to me, though they have a future album on the Rolling Stone list.

RJDiogenes said:
This is a good one.
TREK_GOD_1 said:
A sound and era-specific feel like no other.
And here's another album on the list that I was looking forward to getting, but I see that the Essentials collection I bought for their major singles has all but one of the tracks from the album, which doesn't encourage me to buy most of it again....

RJDiogenes said:
I can't tell you how much I love the classic Simon & Garfunkel stuff.
TREK_GOD_1 said:
If you have to break up, its best to go out on top. The album it would be featured on--Bridge Over Troubled Water--blew the competition away by being the best selling album three years in a row (1970.1971 and '72), even after the duo had called it quits in 1970.
A very striking classic song...and still another album on that list.

RJDiogenes said:
This is a very nice song. And, speaking of misidentifying things, I would have pegged this as the Stylistics.
TREK_GOD_1 said:
Instant standard.
A pleasant one-hitter. Not on the list.

RJDiogenes said:
I'm going to steal this in the future, if you don't mind. :rommie:
Not at all, please do. You could start by reiterating it to...
TREK_GOD_1 said:
Wha--? That was not strictly "art"; they were certainly political and making statements about social/political issues in this era, including the bed-in business. Lennon effectively put the final touches on transforming himself into a political commentator--the opposite of merely being one of the Beatles.
Using art to make political commentary is not the same thing as being in politics. John was expressing an ideal and trying to make people think in a different way, not establishing policy.

TREK_GOD_1 said:
No one is inventing anything,
You're inventing a sub-genre that nobody else recognizes with one hand...
but its not uncommon for songs to be incorrectly categorized--usually due to the biases of the people creating the category.
...then dismissing sub-genres that others recognize with the other. Perhaps your "Daydream Believer" sub-genre is the product of the sort of bias that you attribute to others.
 
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"Cissy Strut," The Meters23 US; #4 R&B)
Another of my all time favorite bands, (except for Aaron, who I just cannot stand). Saw them at the Roxy back in the 70's and they were brilliant. Oops, now that I think about it, that was The Neville Brothers, opening for Wild Tchapitolous. Great great night. The place was packed, and the audience shouted out the choruses to all of the WT songs. Those guys were looking out at us like, WTF!!! They had no idea of how popular they were.
"Stand!," Sly & The Family Stone (#22 US; #14 R&B; #241 on Rolling Stone's 500 Greatest Songs of All Time)
My fav Sly album, though I don't know if I'd call Stand my favorite Sly song. The Mt. Rushmore of funk should include Professor Longhair, the Meters, Sly Stone, and James Brown.
 
Okay, I have to ask, because I have a friend, who is also a vocalist--who cannot stand Streisand. What's your reason?
Something about her just rubs me the wrong way (nothing personal, as with people like Frank Sinatra or Jane Fonda). Her voice is displeasing to me. Just a matter of taste, and I'm obviously in the minority there.
 
_______

50th Anniversary Viewing

_______

The Ed Sullivan Show
Season 21, episode 24
Originally aired March 30, 1969
As represented in The Best of the Ed Sullivan Show

Ed said:
Everyone's life gets in a rut from time to time, and here are the Muppets with Rex Robbins to show us one way of changing things.
A Muppets intro that didn't use the word "youngsters"! In a skit known as "A Change of Face," Robbins advises an old man Muppet on how to get out of his rut by removing and switching around his facial accessories.
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The bit where the Muppet recites poetry while holding a flower might have been a spoof of Henry Gibson's recurring bit on Laugh-In.

Ed said:
From England, London's comedy star Dickie Henderson!
In a routine continuing the theme of his Sinatra impression, Henderson plays a stage singer who's having issues with his microphone cord while trying to move around on stage, eventually getting all wrapped up in it. One of the camera angles clearly shows a man handling the other end of the cord just offstage. Henderson cites Steve Lawrence (also on the show that night) as an example of how it's done right.

Also in the original episode according to tv.com:
Broadway:
--The cast of "Hair" performs "Aquarius"/"Let the Sun Shine In."
Music:
--Peter Nero (pianist) - "Mrs. Robinson" instrumental.
--Steve Lawrence & Eydie Gorme - "Golden Rainbow," "Real True Lovin'" and "Dear World."
--Eydie Gorme - "As Long As He Needs Me" (song from Oliver).
--Steve Lawrence - "I've Gotta Be Me."
--The Lennon Sisters - "On A Clear Day" and a Parade medley (production number with dancers).
Comedy:
--Charlie Callas (stand-up comedian) - fast-paced monolog with vocal sound effects.
--Dewey "Pigmeat" Markham - judge routine.
Also appearing:
--Audience bows: Sheila Green & Jackie Mason.

_______

Mission: Impossible
"Nicole"
Originally aired March 30, 1969
Wiki said:
Jim, shot and captured during exfiltration, is joined by an attractive double agent (Joan Collins) – but whose side is she really on? (Unusual for a non-season 1 episode, only two regular IMF members – Jim and Rollin – appear.)

The reel-to-reel tape in what looks like the backstage of a theater said:
This tape will self-destruct in five seconds. Good luck, Jim.

From the description, this sounded similar to last season's "The Town," but it's not a situation in progress. It starts with a tape scene and a brief meeting scene between Jim, Rollin, and a contact, making it feel a lot more like one of those Season 1 episodes in which the mission consisted of standard spy-fi fare. The IMF is assigned to get a list of defected allied agents from enemy intelligence minister Anton Valdas (Logan Ramsey). The meeting sets up the presence of friendly agent Nicole Vedette (Collins, sporting a short bob). Barney is referenced.

Jim and Rollin infiltrate Valdas's chateau as a couple of military officers attending a party...Rollin playing a cranky elderly general. Jim and Nicole flirtily eye each other from across the room while Pervy Old General Rollin takes a more direct approach with a couple of attractive young ladies. Nicole comes over to introduce herself, demonstrate her keen observational skills, and engage in some romantic dancing. Meanwhile, Rollin sneaks his way to Valdas's safe but sets off an alarm in cracking it. Jim drops his cover to help Rollin, holding a gun to Valdas's head while they make their way to the door. While Rollin's outside pulling a limo up for them, Valdas makes a break and one of his men shoots Jim. Rollin is forced to drive off.

Nicole tries to spring Jim and quickly gets caught. Jim deduces that the list Rollin got away with is a phony that Valdas wanted them to have, and Nicole tells Jim that their contact was a double agent. While Undisguised Rollin stakes out the chateau, Jim uses the old "fake your death in the cell" trick to get him and Nicole out, and they proceed to engage in some montage scenes of fleeing through the woods until they find the customary abandoned barn to hide in. When Jim passes out, Nicole slips outside for a rendezvous with Valdas, who's waiting in his limo. It turns out that the list is real and her name is on it; but her professional relationship with Valdas is less than chummy, as she's blackmailing him with a packet of info, and, we learn after she leaves, he's planning to have her killed. Revived Jim realizes she's a plant when he finds a bug in her pack of matches, but when they take to the woods again and it appears that Jim might kill himself getting to the border, she blabs all to stop him, and he realizes that she didn't know about the bug, via which Valdas has heard everything she's said.

Valdas and his guards resume the chase in earnest and corner the duo, but Rollin, who's followed Valdas to the location and has been sneaking around TV Fu Chopping guards, gets the drop on Valdas and his men. Valdas gets off a fatal shot at Nicole before being shot himself by Rollin. When they hear the guards returning with reinforcements, Jim, clearly affected by Nicole's death, very reluctantly has to leave her lying in the woods.

This sort of story plays differently now than it did in Season 1, when the show clearly hadn't nailed down its MO yet. It was a refreshing change to see Jim in a full-on romantic angle.

Jon Lormer briefly appears as "Minister," a figure to whom Valdas answers. The episode also features some suspenseful musical motifs very similar to ones used on Trek. I think I've heard them on M:I before, but they're particularly prominent here.

_______

The Avengers
"Requiem"
Originally aired March 31, 1969 (US); April 16, 1969 (UK)
Wiki said:
Tara finds herself attending a Requiem service for Mother, when Steed inaugurates a one-man witness protection program for a key witness against Murder International: taking the witness to Fort Steed, a hiding place supposedly known only to him. But agents bent on murdering the witness boobytrap Steed's apartment. When the bomb explodes, Tara is severely injured and Mother is killed. Now Tara must find Steed in time to warn him.

Mother's wreath said:
In Loving Memory of Our Dear Mother....The Finest Chap We Ever Knew. Died Suddenly. Explosively. R.I.P.

The death of Mother was obviously a ruse...the setup was suspicious, with Tara suddenly finding herself at Steed's apartment just in time for the explosion following a drug-induced blackout; Tara's minders, including a doctor and a military officer, constantly pressing Tara for info about Steed's mystery hiding place; and Tara always being drugged up to travel, each way of the journey. It turns out that Steed's destroyed apartment is a set in the same building where she was being held early in the episode and where the fake hospital was.

The protectee, played by Angela Douglas, was quite cute. Steed's hideout is a place where he used to play tabletop wargames with his best pals as a lad, and he keeps her entertained by playing those and chess, but she always beats him because of various relatives who were experts.

Upon her escape, Tara returns to Steed's actual apartment to find Mother and Rhonda there--when she gives Mother a big kiss, his expression is priceless. When Tara relates to Mother the details that she gave her keepers about Steed's potential hiding place, he quickly has a house in the area where the bad guys are searching set up to fit all of the odd details that Tara was remembering piecemeal. When the bad guys arrive, Rhonda and Mother take care of them personally.

I found this one enjoyable despite its predictability, for having an interesting angle and not being so obviously on-template...though I suppose the "multiple incidents" angle could be all the times Tara was drugged and taken to a new fake location.

_______

Rowan & Martin's Laugh-In
Season 2, episode 26
Originally aired March 31, 1969
The Wiki list of guest appearances said:
George Gobel, Billy Graham, Werner Klemperer, Richard Nixon, Tiny Tim, The Wiere Brothers


Billy Graham said:
I think that many people are going to criticize me for being on Laugh-In. But you know, Jesus moved among publicans and sinners, and I think I can come on Laugh-In. In fact, some people think that I should have come on here a lot sooner.


Judy said:
And now, folk, stand by for the stars of Laugh-In, the two and only Rowan and Martin...or as they're known on Gunsmoke, Public Enemy Number One and Public Enemy Number Two.


This week's Quickies segment, which includes Billy Graham:
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Werner Klemperer dressed in character said:
How do you like my uniform, huh? It's worn by many Argentine cab drivers.


This week's Letters to Laugh-In:
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And so ends Laugh-In's first full-length season. I'm good with taking a break from it, it gets a little samish.

_______

Ironside
"A Matter of Love and Death"
Originally aired April 3, 1969
Wiki said:
To catch an abortionist, Eve pretends to be an unmarried woman in peril.

The episode opens with a pretty, young woman dying on a park bench of what we learn was a massive internal hemorrhage from an illegally performed abortion. Eve gets involved when she and Ed are sent to the morgue to make an identification in relation to a missing person's case that they're working. The Jane Doe--eventually identified as Arlene Dodd (Connie Kreski) isn't the girl they were looking for, but Eve wants to learn more about how this happened, so after a bit of customary grousing by the Chief (and a report that the girl they were looking for has conveniently turned up alive and well), Team Ironside gets on the case.

Ed goes to a residence for women where Arlene was staying to question the girls there. The cynical one among them, played by Susan Howard, comes off as a natural early suspect. Eventually Ed and Eve float the idea by Ironside that Eve should check in at the residence as a girl in trouble with the belief that she'll be referred by somebody there to the abortionist. Eventually, when brunette wig-sporting Eve gives enough indications of her fake condition, she gets a ransom-style note slipped under her door. Shortly after, Howard's character proves to be a red herring as she visits Eve to try to talk her out of having an abortion, having been through the experience herself.

The one that does nibble turns out to be the slightly heavy-set girl who's always munching on a box of chocolates, and whose name is...Betty Ross (Barbara Shannon). As she takes Eve to her back alley doctor, they're tailed by Ed and Mark and a couple of pairs of detectives in other cars, but they all manage to lose the car that Eve's in when it quickly slips into a well-concealed backlot garage. It turns out that the abortionist is a woman who's been working as a secretary at various doctors' offices (Lillian Adams). Eve's gun falls out of her coat after she has to take it off, there's a struggle over it, and she throws it out the window, attracting Ed and Mark's attention.

In places this felt like another Very Special Episode. It's not as thoroughly so as the one about the girl on drugs who got sent to the girls' prison, but it does get a bit lecturey and heavy-handed in places...like when the legitimate female doctor that Arlene had approached muses that she did the legal thing in refusing to perform the abortion, but may not have done the right thing; and when the guy who knocked Arlene up, who was unaware of the pregnancy or abortion, gets guilt-tripped for his role in the matter.

They may have splurged on some location shooting for this one, if it wasn't L.A. passing itself off as Frisco. In one scene Ed and Eve are knocking on some doors, seen in long shots with no dialogue.

_______

Adam-12
"Log 22: ...So This Little Guy Goes into This Bar, and..."
Originally aired April 5, 1969
Wiki said:
Reed's shaggy dog story falls flat when he tries retelling the joke, which he first heard from Officer Ed Wells, to his fellow cops: every time Reed tries to tell the joke, one call after another comes over the radio and thwarts his chances to tell the joke.

As Reed starts clumsily telling the joke to an obviously unenthusiastic Malloy, they get a call to see the woman, 484 (theft). The caller is a little old lady reporting a mink scarf stolen from her refrigerator, presumably by one of her recent guests. Malloy quickly finds it misplaced in the freezer.

Reed gets a little further into his story when they get a call for a man assaulting a woman. They arrive at the shabby apartment to find a woman whose hand has been cut by a knife and five young children running around. They arrest the husband, but out in the hall Malloy opines to Reed that the whole thing seems a little hinky, noting that there wasn't any sign of blood. Going back to investigate further, they find that her wound is a day old, and Malloy deduces that she'd accidentally cut herself and the couple agreed to take advantage of the situation to get the woman and children more welfare money from the husband being in jail.

Reed manages to finish his story but is sore when he gets no laughs from Malloy. At a diner on a Code Seven that we didn't hear approved, Brinkman and Walters come in and Reed tells the story to them (aided by a transition to the punchline). Walters doesn't get it, but Reed's fellow junior officer, Brinkman, thinks it's hysterical; and the waitress who's been listening the whole time thinks it's disgusting. (Before somebody asks, it was about a couple of dogs getting into a fight, and one of them turns out to be an alligator who was painted and had his tail cut off.)

Back on patrol, Adam-12 gets a call for a 415 party...and there's that instrumental again--Squiggy clearly wouldn't like living in the Mark VII-verse! The crowd inside mostly seem a little old to be listening to it, though. The man throwing the party is an old school friend of Reed's, so Reed wants to handle it alone. The man's pleased to see his old friend and introduces Reed to his wife, but doesn't take Reed seriously until Reed threatens to arrest him. Then Reed becomes "the fuzz".

Back at the station, a lieutenant is telling the story to a group of officers, and while Reed doesn't think he's telling it right, he has the crowd in stitches. Reed considers that he might be the one who's not be telling it right, but Malloy offers that he is...he just hasn't made lieutenant yet.

And so ends the first season of Adam-12. This has definitely been a welcome inclusion in the weekly line-up, in spite of my just having done a full-series watch-through a couple of years back.

_______

A smidgen of 55th anniversary / British Invasion business: I read that the Searchers appeared on the April 5, 1964, episode of Ed Sullivan...not represented on Best of.

A welcome bit of retro programming news...H&I just changed its Sunday afternoon lineup back to playing classic Westerns. Recently they had the day devoted to a mix of the same '90s-2000s shows that alternate each weekday afternoon/evening. And I've decided to toss Branded, now part of the lineup, on the DVR pile for future 55th anniversary or catch-up viewing.

However, they badly need to replace their "up next" announcement on Saturday mornings for The Incredible Hulk, which hasn't been in their lineup for months.

_______
 
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A Muppets intro that didn't use the word "youngsters"! In a skit known as "A Change of Face," Robbins advises an old man Muppet on how to get out of his rut by removing and switching around his facial accessories.
I saw this not too long ago. Very funny, and a nice demonstration of modular Muppet technology.

Also in the original episode according to tv.com:
The cast of Hair didn't make Best Of? :confused:

but her professional relationship with Valdas is less than chummy, as she's blackmailing him with a packet of info
She's got all kinds of irons in the fire.

It was a refreshing change to see Jim in a full-on romantic angle.
Poor Jim. Doomed romance is one of the downsides of episodic TV. She could have been added to his portfolio.

It turns out that Steed's destroyed apartment is a set in the same building where she was being held early in the episode and where the fake hospital was.
Ah, the good old days, when enemy agents had imagination and ambition, and panache.

Upon her escape, Tara returns to Steed's actual apartment to find Mother and Rhonda there--when she gives Mother a big kiss, his expression is priceless.
Yeah, just wait till he reports her to CNN.

When the bad guys arrive, Rhonda and Mother take care of them personally.
Now that I want to see.

This week's Quickies segment, which includes Billy Graham:
Imagine something like that happening today.

And so ends Laugh-In's first full-length season. I'm good with taking a break from it, it gets a little samish.
But next season is the pinnacle.

They may have splurged on some location shooting for this one, if it wasn't L.A. passing itself off as Frisco.
I watched an old movie called The Sniper yesterday, which was shot on location in Frisco. I don't think it's possible for any city in the world to pass itself off as Frisco. :rommie:

Going back to investigate further, they find that her wound is a day old, and Malloy deduces that she'd accidentally cut herself and the couple agreed to take advantage of the situation to get the woman and children more welfare money from the husband being in jail.
That's actually a touching change of pace from all the stories of people abusing each other and their kids.

(Before somebody asks, it was about a couple of dogs getting into a fight, and one of them turns out to be an alligator who was painted and had his tail cut off.)
So, more of a Scaly Dog story. :rommie:

and there's that instrumental again--Squiggy clearly wouldn't like living in the Mark VII-verse!
He called it in.

And so ends the first season of Adam-12. This has definitely been a welcome inclusion in the weekly line-up, in spite of my just having done a full-series watch-through a couple of years back.
It's a better show than I gave it credit for, back when it was just another thing on the UHF lineup.

And I've decided to toss Branded, now part of the lineup, on the DVR pile for future 55th anniversary or catch-up viewing.
Interesting. I'm not familiar with that show at all.
 
Something about her just rubs me the wrong way (nothing personal, as with people like Frank Sinatra or Jane Fonda). Her voice is displeasing to me. Just a matter of taste, and I'm obviously in the minority there.

Ah. Well, to each his own. Personally, i've enjoyed her style of singing--at least her 60s and 70s work. My friend says she cannot stand Streisand because as she claims, Streisand "sings from her nose" instead of the diaphragm, which my friend says is the "right" way. I shrug my shoulders at that one.
 
For Christmas, my wife gave me the complete series DVD sets of Combat! with Vic Morrow and Justified (Blu-ray) with Timothy Olyphant.
 
Previously, in the MeTV's SuperSci-Fi Saturday Night thread...
I remember watching Branded when I was a kid-- it must have been in syndication, because I remember watching in the afternoon (and I would have been a little young for the first run). The show kind of upset me. I found the opening sequence when they snapped his sword in half disturbing.

I don't think there was anybody actively pursuing him, though. I suppose you could say that he was dogged by his unjustified reputation.

_______

The cast of Hair didn't make Best Of? :confused:
Nor could I find a video on YouTube...but I did find this one from The Smothers Brothers:
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She could have been added to his portfolio.
Ah, now that would have been interesting!

Now that I want to see.
It was brief, but a nice moment. With the series nearly over, I'm just now starting to warm up to Mother.

But next season is the pinnacle.
Is it? It's also the last season that I have recorded Decades.

He called it in.
:lol:

It's a better show than I gave it credit for, back when it was just another thing on the UHF lineup.
It's still on Cozi, though down to two episodes a week on Saturday afternoon.

Interesting. I'm not familiar with that show at all.
Hence the recap.... :p

On Sirius when I was driving home, the DJ played a full audio clip of Joe Friday describing an auto collision in tenths of a second from "The Hit and Run Driver". Tying it in even more with recent business here, he was using it to introduce "Dead Man's Curve"!
 
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Using art to make political commentary is not the same thing as being in politics. John was expressing an ideal and trying to make people think in a different way, not establishing policy.

Trying to change the ideas or lives of others through political statements (no matter the vehicle used) is...politics. That is not created to operate in an experimental vacuum, but to make changes. By influencing others, that had a natural path toward anyone who took his message to heart acting on/for political interest. This period defined him as a agent of political change for the reminder of his life.


Perhaps your "Daydream Believer" sub-genre is the product of the sort of bias that you attribute to others.

No, I believe the bias is in leaning on questionable categories, yet cannot acknowledge how the Monkees song had a direct influence on the songs which followed it (all cited). Its no secret that major hits often lead to numerous imitations or "inspired by" songs, so why this is not acknowledged by a hit as major as "Daydream Believer" raises questions.
 
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