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The Classic/Retro Pop Culture Thread

Which would lead anyone to believe if he did not have a hit movie, Michaels, et al, would have had no desire to recognize Murphy for the star he was far above everyone else on the show.

Again, Lorne Michaels had nothing to do with SNL while Eddie Murphy was on. The producer was Jean Doumanian the first season, then Dick Ebersoll.

Doumanian had not used Murphy much, but Ebersoll is generally given credit for recognizing Murphy's talent and pushing him to the front in '81-'82, when his Mr. Robinson, Buckwheat, Velvet Jones and Gumby characters began to hit. In fact some felt that Ebersoll got too focused on recurring appearances of Eddie Murphy characters. The next season was dominated by Murphy, and public opinion had started to be that SNL had made a comeback. 48 Hrs. came out in December '82 and was a hit. Now a movie star, Murphy was considering leaving. Desperate to keep him, Ebersoll offered a deal where Murphy would only have to be on ten shows of the '83-'84 season and bank a certain number of taped sketches to use throughout the season. Ebersoll has stated that he believed the show would have been canceled the next season if Murphy hadn't taken the deal.
 
Jean Doumanian hired Murphy. Michaels had left the show after S5 (1980) and didn't return till S11 (1985).
I had forgotten that Lorne left the show after the 1979 season. This could mean that if Lorne had not left, Eddie Murphy might never have been discovered.
Actually, Tomei--like Lisa Bonet--only appeared in the 1st season. Debbie Allen said she did not fire Tomei, and had thought about a possible second season storyline where series co-star Kadeem Hardison (the Dwayne Wayne character)
had a relationship with Tomei's character,
This sounds like it could have worked out well, especially with all of the other changes Debbie made, including fixing Dwayne Wayne. But in the end, I think Tomei leaving was overall best for the show.
How so? At the start of it all, each were already playing music; Nesmith had a hit song under his belt ("Different Drum") and wrote/produced his own songs for The Monkees from the start. We already know Jones was a seasoned Broadway singer who also cut singles pre-Monkees, Tork was a trained multi-instrumentalist well known in the music club scenes on the East and West coasts (in fact, it was in the clubs where Tork and Nesmith first met) and Dolenz had been in a band and cut a record. Contrary to the myths pushed by certain music rags, those four men were not "actors" who mimed to songs, but each brought their own talent into it, with Nesmith and Tork already contributing on a number of songs, even during the early, oppressive Kirshner days. That's a band.
Because S&C were two musicians whose primary focus was in forming a "band", getting a record contract, and making it in the music industry. That is what they accomplished which is what led to their TV career.

The Monkees were a corporate construct put together by a production company in order to take advantage of the success of the Beatles' A Hard Days Night. The casting call was for actors who had some musical ability, which kind of made "musical ability" sound incidental.

The show's faux band would be given songs composed by top pop writers (Neil Diamond, Boyce and Hart), and the songs would be given 30 minutes of national TV exposure 26 weeks a year. I daresay, you and I could produce some hits using this formula. And their meager talent, talent that probably had zero chance of making any impression on the music industry at all without the show's help, notwithstanding, the show did produce hits. No surprise there.

Not only do I believe S&C deserve more respect as a band, I really can't think of any bands that I would not respect more than the Monkees.
Meaning, they are still culturally relevant over a half century after their debut if they are still charting high, which is more than can be said of many acts from the 60s--including Sonny and Cher.
Yeah, most of those 60's acts never had a national TV show which has aired off and on for the last 50 years or so to help them. Having a hit after 50 some years is impressive, but it's not like the Monkees haven't had massive help in that regard from corporations hoping to make money off revivals of these actors' portrayals.

I happened to read a really long article in Vulture just this morning that went through and critiqued all 221 HoF inductees and also reported some gossip surrounding the selection committee and the process in general.

Jann Wenner is suspected of intervening on the selection process in order to ensure that Grandmaster Flash was inducted over the Dave Clark Five. Wenner denies this. Flash did get in and so did the DC5, but not until a few yeas later. There were also some other incidents given to the writer by "insiders", but none of them involved the Monkees.

The article only mentioned the Monkees once, when he was reviewing the induction of ABBA. The writer said about ABBA, that "if you're going to induct cartoons, then why not The Monkees?" I don't think Wenner ever stood in the way of the Monkees' induction because he didn't have to; i don't think anyone would have nominated them. There are SO many artists who are more deserving of nomination and induction that I don't see the Monkees ever getting in.
 
Again, Lorne Michaels had nothing to do with SNL while Eddie Murphy was on. The producer was Jean Doumanian the first season, then Dick Ebersoll.

But Murphy himself said he was not going to allow SNL's PTB to make him another Garrett Morris, which is what he was feeling when he first landed the job. This, plus the entire Morris discussion (with gblews) about behavior which includes how one of Michaels' key writers (Anne Beatts) when working on A Different World shows a pattern of open indifference where black performers (early SNL) and/or issues (in the case of ADW) were concerned.
 
I had forgotten that Lorne left the show after the 1979 season. This could mean that if Lorne had not left, Eddie Murphy might never have been discovered.

Probably.

This sounds like it could have worked out well, especially with all of the other changes Debbie made, including fixing Dwayne Wayne. But in the end, I think Tomei leaving was overall best for the show.

It was certainly better for her, considering how it was only a few year later that she starred in the film (My Cousin Vinny) that would earn her an Oscar for Best Supporting Actress in 1993. Had she remained on ADW (which ran until 1993), she might have missed that opportunity.

The Monkees were a corporate construct put together by a production company in order to take advantage of the success of the Beatles' A Hard Days Night.

Wrong. Bob Rafelson independently created the idea in 1962--before anyone in the U.S. ever knew about the Beatles. He pitched it to various studios and eventually partnered with and Bert Schneider (advantageous, as his father was the head of Columbia's Colpix records). The idea had a young band traveling around, getting into the kind of problems eventually seen on the show before A Hard Day's Night. AHDN--or rather, Lester--used a certain style that had some inspirational elements, but it was no more responsible for all of what became The Monkees than American Graffiti (1973) was for Happy Days (1974-84) as the latter was already a 1972 segment of Love, American Style. In other words, it was already an active concept, not a rip-off.

The show's faux band would be given songs composed by top pop writers (Neil Diamond, Boyce and Hart), and the songs would be given 30 minutes of national TV exposure 26 weeks a year.

Notice how you completely ignore the fact that Nesmith already wrote a major hit before The Monkees, and that he wrote and produced songs right at the start of The Monkees' recording history. This was no accident, nor was he some day player looking for a job. His credentials were the reason he joined the band. Tork's considerable skills had him playing several instruments on the records long before they liberated themselves from Kirshner in time for their third LP. Further, several of Nesmith's songs were constantly played on the TV series, thanks to their strength & appeal.

Not only do I believe S&C deserve more respect as a band, I really can't think of any bands that I would not respect more than the Monkees.

You are clearly operating off of selective media-regurgitated false information debunked ages ago.

Regarding S&C--they were barely on the level of a novelty act, and do not deserve to be a part of any HoF, the one in question, or any other. If it wasn't for a promoted bad marriage of abuse and adultery, they might not be remembered today.

Yeah, most of those 60's acts never had a national TV show which has aired off and on for the last 50 years or so to help them. Having a hit after 50 some years is impressive, but it's not like the Monkees haven't had massive help in that regard from corporations hoping to make money off revivals of these actors' portrayals.

Revivals only work if there's an audience willing to accept/embrace it. They're not in a collective trance making them go to concerts and buy records. The act has to have serious appeal to return the way The Monkees did in the 80s and to have recent-era recording success.

Jann Wenner is suspected of intervening on the selection process in order to ensure that Grandmaster Flash was inducted over the Dave Clark Five. Wenner denies this. Flash did get in and so did the DC5, but not until a few yeas later. There were also some other incidents given to the writer by "insiders", but none of them involved the Monkees.

Wenner can deny whatever he likes, but for the fact he is always at the center of blame for screwing with the selection process calls every nomination into question. This is not occurring for no reason at all.
 
We then proceed to the album's best-known track, future hit single "Evil Ways" (charts Jan. 24, 1970; #9 US; #19 AC), a cover of a song written by Clarence "Sonny" Henry:
I didn't realize that was a cover, because it's definitely got that unique Santana flavor.

To cop a phrase from Peter, Paul & Mary, I think the words just get in the way on this album.
I suppose Peter, Paul & Mary think they have Squiggy outnumbered!

I was surprised to read about what a negative reception the album got in its day.
It's always weird to learn that a classic was ill received in its day, whether it's an album or movie or book. Then there are those things that were a huge success but forgotten over time....

It's being pronounced "DAY-vuh," FWIW.
Oh. :rommie:

And should one of them not be caught, the Secretary will disavow any knowledge of their accident. Good luck!
:rommie:

Her story was pretty sad. She was trying to get out of the undercover cop business and lead a normal life; thought she'd met the right guy but it was a ruse and he killed her; then almost nobody showed up at her service because she hadn't made a lot of friends in all those years as an undercover cop.
Geez. And that was the B-Plot?

But in the context of the late '60s / early '70s...that's when it became the in thing to hate on Uncle Sam. It was the "haves" who were in charge, armed with the flag, who were sending the "have nots" off to die in Vietnam. That's what the song is about. And FWIW, I don't think the song is anti-patriotic...more cynical about how patriotism is being abused by those in power.
You may be right, but it still has that anti-patriotic imagery that the Righties were able to exploit (and I'm not talking about this song specifically, but that mindset). Many (in fact, I think most) people understood that what we were doing was the next step on the road started by the Revolution and the Founding Fathers, but you know how politics works-- all it takes is one for the propagandists to seize upon. And then there are the kids who see stuff like this and think it means that they're supposed to be anti-American, which I think is partly what led to the contemporary Left being the disaster that it is.
 
I didn't realize that was a cover, because it's definitely got that unique Santana flavor.
They didn't write it, but they own it.

Geez. And that was the B-Plot?
If you'd call it that...she was the murder victim.

You may be right, but it still has that anti-patriotic imagery that the Righties were able to exploit (and I'm not talking about this song specifically, but that mindset). Many (in fact, I think most) people understood that what we were doing was the next step on the road started by the Revolution and the Founding Fathers, but you know how politics works-- all it takes is one for the propagandists to seize upon. And then there are the kids who see stuff like this and think it means that they're supposed to be anti-American, which I think is partly what led to the contemporary Left being the disaster that it is.
I dunno...I think you're letting politics ruin a perfectly great CCR song for you.
 
Wrong. Bob Rafelson independently created the idea in 1962--before anyone in the U.S. ever knew about the Beatles. He pitched it to various studios and eventually partnered with and Bert Schneider (advantageous, as his father was the head of Columbia's Colpix records). The idea had a young band traveling around, getting into the kind of problems eventually seen on the show before A Hard Day's Night. AHDN--or rather, Lester--used a certain style that had some inspirational elements, but it was no more responsible for all of what became The Monkees than American Graffiti (1973) was for Happy Days (1974-84) as the latter was already a 1972 segment of Love, American Style. In other words, it was already an active concept, not a rip-off.
The idea may have originated with one guy in 1962, but The Monkees TV show that aired on NBC, was still a corporate construct. The show, it's characters, concept, cast, etc. ALL had to be approved by corporate suits before the show would be greenlit.

I acknowledge your statement that the show wasn't a an HDN rip, but it remains a stone cold fact that The Monkees' TV show looked and felt an awful lot like HDN. Perhaps the guy who came up with the original idea for the show never intended for it to look that way, but obviously someone of importance wanted it to. Perhaps it was the corporate suits.
Notice how you completely ignore the fact that Nesmith already wrote a major hit before The Monkees, and that he wrote and produced songs right at the start of The Monkees' recording history. This was no accident, nor was he some day player looking for a job. His credentials were the reason he joined the band. Tork's considerable skills had him playing several instruments on the records long before they liberated themselves from Kirshner in time for their third LP. Further, several of Nesmith's songs were constantly played on the TV series, thanks to their strength & appeal. You are clearly operating off of selective media-regurgitated false information debunked ages ago.
I think you're laboring under the assumption that one of the reasons I have no respect for the Monkees as a band, is because of their lack of musical ability. I haven't said one single thing about the Monkees' musical ability or lack thereof. If you can find one, please point it out to me.

Their level of musical ability has nothing to do with my feelings about them. I've already stated that there are plenty of great bands, solo acts, and duets, who haven't played instruments, or composed their own songs. But regardless of Mike Nesmith's musical ability or prior accomplishments, the show was still provided with great songs by top notch Brill Bdg songwriters and tons of prime time TV advertisement. .

So the actors really didn't need any musical ability until they began performing their characters in live settings. .

The casting call requested actors with some musical ability and that is what they got, with some of the actors having more than some others. With respect to my end of this discussion, that is irrelevant.
Regarding S&C--they were barely on the level of a novelty act, and do not deserve to be a part of any HoF, the one in question, or any other. If it wasn't for a promoted bad marriage of abuse and adultery, they might not be remembered today.
Maybe you're right, but while I was typing this post, a commercial came on TV playing I Got You Babe. Not drawing any conclusions, however. :)
Revivals only work if there's an audience willing to accept/embrace it. They're not in a collective trance making them go to concerts and buy records. The act has to have serious appeal to return the way The Monkees did in the 80s and to have recent-era recording success.
Yes, and as I said, that audience is primed periodically with reruns of the TV show which drives sales of the show, the show's music, and cast's personal appearances.
Wenner can deny whatever he likes, but for the fact he is always at the center of blame for screwing with the selection process calls every nomination into question. This is not occurring for no reason at all.
I don't believe Wenner has had anything to do with the Monkees not getting nominated or selected for the HoF. I don't think Wenner would have found them important enough to waste his political capitol on.

I still think Monkees fans should start advocating the TV show be inducted into the Hall under the "influencer" category. It wasn't the first TV sitcom to feature rock music but it was the first to build an entire show around rock music.
 
They didn't write it, but they own it.
That's for sure.

If you'd call it that...she was the murder victim.
Yeah, but it seems like the main plot was about Pete being framed.

I dunno...I think you're letting politics ruin a perfectly great CCR song for you.
It doesn't really ruin it for me, it just would have been nice if they'd taken a different approach to it.
 
The idea may have originated with one guy in 1962, but The Monkees TV show that aired on NBC, was still a corporate construct.

Illogical and historically inaccurate. No corporate entity created The Monkees--it was one person, followed by the contribution of Schneider. Not NBC, not Screen Gems or any other company. In fact, the networks resented the idea of popular music other than in the safe confines of variety shows sold as a one-off guest appearance on a sitcom, but did not want to see independent teens/young adults of the music scene in any other way.

I acknowledge your statement that the show wasn't a an HDN rip, but it remains a stone cold fact that The Monkees' TV show looked and felt an awful lot like HDN. Perhaps the guy who came up with the original idea for the show never intended for it to look that way, but obviously someone of importance wanted it to. Perhaps it was the corporate suits.

Again, Historically inaccurate. One of the reasons The Monkees as a TV series stood out among anything else on TV was the kind of cutting humor born of very American "ironic satire" and improvisation that was not seen (or accepted) on network TV up to that time (Broadcast Standards and Practices was an organization that did have a number of problems with the show, starting with the band themselves)

I think you're laboring under the assumption that one of the reasons I have no respect for the Monkees as a band, is because of their lack of musical ability. I haven't said one single thing about the Monkees' musical ability or lack thereof. If you can find one, please point it out to me

I merely point out the facts about their talents, which have debunked the myths long ago, myths that have been used to bolster any criticism of the band. Its as inaccurate as Lefkowitz's worthless Monkees Tale quickie book, such as the idiotic claim that Charles Manson tried to join the group (anyone older than 2 knows Manson not only never knew of the group, but was still incarcerated at the McNeil Island prison at the time the band and show came together, but he was--his own and witness statements--a Beatles fan in prison).

So the actors really didn't need any musical ability until they began performing their characters in live settings. .

You've just made my point: Rafelson and Schneider always wanted musicians who happened to be able to perform in front of a camera because this was about a band--not an episode of My Three Sons where the kids try their hand at music for an episode. They wanted the group to record.. That was the desire from the start, which would not be possible with mere actors.

Maybe you're right, but while I was typing this post, a commercial came on TV playing I Got You Babe. Not drawing any conclusions, however. :)

Old songs have constantly been licensed for commercials--as a novelty, like Sheb Wooley's "The Purple People Eater" or Sonny and Cher's song.

Yes, and as I said, that audience is primed periodically with reruns of the TV show which drives sales of the show, the show's music, and cast's personal appearances.

"Primed" implies mental conditioning. Again, the audience has to be receptive, and in the case of the MTV marathon, many of their younger viewers never watched the series (too young to have watched the 70s reruns), so it was a completely organic process. Most old TV series do not become a second or third life phenomenon.

I don't believe Wenner has had anything to do with the Monkees not getting nominated or selected for the HoF. I don't think Wenner would have found them important enough to waste his political capitol on.

One, that last line are your feelings. Two, he is on record bitching about the band--he has spent years making negative remarks about them, so obviously, he had/has an agenda, much like rag he co-created.

I still think Monkees fans should start advocating the TV show be inducted into the Hall under the "influencer" category. It wasn't the first TV sitcom to feature rock music but it was the first to build an entire show around rock music.

It would not work, as Wenner's unjustified views would prevent that.
 
_______

50th Anniversary Viewing (Part 2)

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TGs4e5.jpg
"At the Drop of a Budget"
Originally aired October 16, 1969
Wiki said:
Under hypnosis at the dentist (guest star Monty Hall), Ann is mistakenly told to buy anything at the drop of a hat at the same time Donald is trying to help her work on a budget.

This time around it's Ann who's insisting on Donald keeping a budget for her, so despite the subject matter, they're eating in a decent-looking Italian restaurant in the teaser, not at a hamburger stand...and Ann lets Donald take the check. It's while they're discussing her expenses that it comes up that she's been putting off going to the dentist and Donald recommends one in his building who uses hypnosis in lieu of anesthesia. While Dr. Pullman is in the process of hyponitizing her, he takes a call from his wife and reacts to news of her latest spending spree by exclaiming, "At the drop of a hat you'll buy anything!" Now people dropping their hats becomes an unsually regular occurrence, and every time it happens, Ann is compelled to indulge in excessive binge-shopping...the first instance being buying an entire carton of gum at a newstand, which she tries to repurpose as a gift for Donald.

Hamburger Stand Don actually kvetches about Ann's culinary choices when she tries to make a budget meal from items she bought in the unlabeled cans section, which includes commenting on the vintage of his glass of water. The motivation for Ann's budget consciousness is getting a new regular gig on a soap opera. We see the ABC logo displayed on set. She even has a binge-shopping incident during the filming of a scene, causing her to go off-script.

Don figures out what's going on when he accompanies Ann on a follow-up visit to the dentist, when Pullman mentions that at the drop of a hat, his wife will buy anything. There's an unnecessary flashback sequence to all the incidents we just watched, like they didn't expect the audience to get it. In the meantime, however, the post-hypnotic suggestion is undone as part of Pullman's latest hypnosis...so Donald tries to demonstrate her trigger afterward in the waiting room and it doesn't work.

Overall, this is an episode with a memorably kooky premise.

"Oh, Donald" count: 14

I knew we were in for a big one when there were five in the teaser alone! I'm making a note that this one was written by Ed Scharlach and Warren Murray, in an attempt to determine if there's a correlation between writers and high "Oh, Donald" counts.

_______

Ironside
"A Bullet for Mark"
Originally aired October 16, 1969
Wiki said:
Two attempts are made on Mark, leading Ironside to investigate the motive.

Mark is first shot by a guy who looks a lot like Paul Carr but isn't at an awards ceremony for the Amateur Chefs of America, which Ironside is attending as a nominee. The Chief initially assumes that it was an attempt on him...as does Commissioner Randall, who assigns police protection against Ironside's wishes. Mark goes into surgery with a 50/50 chance of making it. There are brief flashbacks of the Chief recruiting Mark and the shooting that crippled Ironside (showing before and after but not during) that look like they may have been from the pilot movie that I never saw. After receiving news of Mark's recovery having successfully started, the Chief talks to the floor nurse to find that a man has been repeatedly calling asking about Mark's condition, which tips him off that the bullet was actually meant for Mark. Ironside and Ed get to Mark's room just as the armed, would-be killer is about to make his second attempt, and he flees and is shot by police outside.

Team Ironside suspects an old acquaintance who tried to get Mark to pull a job with him and assumed Mark ratted on him, but that doesn't pan out. Eve comes up with the idea that Mark may have witnessed something that he didn't know was incriminating to the person who hired the killer. Questioned about his recent routine, Mark remembers being confronted in night school by a black militant with whom he had disagreements, but that doesn't pan out either. Eve's investigation then narrows in on an Ironsidemobile gas stop at an out-of-routine location. Questioned about the details, Mark recalls a mechanic acting jumpy when Mark saw him holding up a package while working on the underside of the car. A quick phone call confirms that this was an attempted narcotics smuggle as the package was later found by the police and the incident had been covered in the papers. Team Ironside questions the station's owner (Adam-12 stoolie Robert Donner) and finds that the car belonged to a Mr. Farrell (Donald Barry), and that the employee who was servicing the car recently stopped showing up. They subsequently learn that the lube man's body has been found.

Looking for a supplier to Farrell's courier, they turn up another unusually frequent car servicee named Walter Thorne (Robert Alda). They and some SFPD stake out the station when Thorne's getting his car serviced and recognize the new lube guy as Jim Saunders (Pat Renella), an ex-con. Farrell's is the next car serviced, with Saunders transferring the package to the second vehicle. When the undercover police have gathered enough footage, the Chief calls in the boys in uniform to make the bust. Back at police HQ, all three parties involved are confronted with the incriminating footage. Ironside initially lets Farrell and Thorne go on the premise that they were both unknowing participants. I wasn't clear if this was supposed to be a ruse or not, but the Chief quickly gets Saunders to squeal on them when it becomes clear that he'll be charged for attempted murder.

In the coda we get a humor beat very similar to a memorable one from last season...Mark is wheeled into the Ironsidecave in his own chair, and challenges the Chief to a race around the building once he's feeling strong enough.

_______

Get Smart
"Widow Often Annie"
Originally aired October 17, 1969
Wiki said:
The Chief orders Max to romance and betroth Ann Cameron, a beautiful widow suspected of murdering her 12 CONTROL agent husbands for their life insurance money, which she then donates to KAOS. Unfortunately, the wedding coincides with The Smarts' first wedding anniversary, much to 99's dismay. The title is a spoof of Little Orphan Annie.
Yes, somebody's recognizing that the spoof is just in the title for a change! And wouldn't Max's marriage to 99 be public knowledge? Or at least known of by KAOS?

Guesting Dana Wynter as Ann Cameron and Raoul Franck / Peter Frank as her KAOS accomplice, Schroeder.

Ann [watching Max play tennis]: I'd better move very fast to kill this one.
Schroeder: Why do you say that?
Ann: Because he's liable to kill himself first.​

If the show were in real time, the pregnancy should have played out through the season. 99 now looks very far into it, and the baby will be dropping in a few weeks our time.

99: You don't love me anymore because I'm fat and unattractive!
Max: That is ridiculous, 99--just because you're fat and unattractive doesn't mean that I stopped loving you!​

The Chief poses as a priest for the fake ceremony...

Max: Oh, Chief, you've got your collar on backwards.
The Chief: It's supposed to be that way, Max, I'm marrying you today.
Max: Oh, has there been a change in plans? I thought I was marrying Ann Cameron.​

99 is also at the ceremony, crying the entire time. To make things worse with her than they already are, Max didn't think to bring a ring, so he has to go ask 99 for hers. When the Chief gets to the "let him speak now, or forever hold his peace" part, everyone turns to look at 99.

Max and Ann stay at the Plaza (the first place the Beatles slept in America). KAOS has rigged the terrace to collapse when Max steps onto it. The terrace doesn't collapse when the Chief, Larabee, and 99 hide on it to eavesdrop on Ann's confession when she tries to force Max onto the terrace at gunpoint. Schroeder goes out to check why it didn't collapse and takes out the last bolt, so that it collapses while he's on it. It turns out that Larabee neglected to turn on his tape recorder for Ann's confession, but 99 took the initiative of providing backup in that department.

_______

Hogan's Heroes
"The Gasoline War"
Originally aired October 17, 1969
Wiki said:
When a gas station is installed at Stalag 13, the prisoners must find a way to sabotage the war effort without revealing their home base.

Of course the prisoners get their information about the purpose of the station, which is to refuel forces in France while being bomber-proof in a POW camp, from the usual suspect...
Schultz said:
If I would know something, I wouldn't even tell myself.
They also force a "surprise inspection" from Klink to get that possibility out of the way for Hogan's meeting with an underground contact, by letting Schultz hang around while they loudly plan an escape.

Hogan's contact, code-named Eskimo, is highly regarded TOS guest Marianna Hill, here sporting long, sandy hair. Eskimo notes that the pump must be destroyed "in case of an invasion," which sets this episode at least sometime prior to D-Day. But Klink is making prisoners sleep in a barracks over the tank to ensure that there won't be sabotage within the camp.

Klink: If you set fire to the gasoline, you will be setting fire to your fellow prisoners!
Hogan: You sure run a friendly gas station.​

Hogan's plan: "If you can't blow up the gas station, blow up the convoy."

Hogan sends Newkirk, disguised as an old lady, to make the second contact with Eskimo to pick up supplies. During the operation, Newkirk disguised as a mustached German soldier provides cover for LeBeau and Carter setting charges under the trucks as they fuel while Kinch provides lookout in the bushes from which they're sneaking in. Cloudy-minded Klink has a face-to-face conversation with Newkirk. After the trucks blow, Hogan has a bit of a Bond moment when the others are trying to radio him while he's making out with Eskimo.

In the coda, Klink is just happy that the sabotage didn't happen on his turf, and plans to get rid of the gas pump.

DIIIS-miiissed!

_______

Adam-12
"Log 83: A Different Thing"
Originally aired October 18, 1969
Wiki said:
Malloy and Reed are called to investigate a hit and run which soon begins to look like a homicide.

Reed and Malloy first answer a call about a disturbance at an apartment. They hear yelling and are about to bust down the door when a woman opens it and it becomes clear from their outfits and floor mat that she and a friend are engaging in karate practice. The woman's husband comes in from the next room to reveal that he was the one who called the police. He's already sporting a black eye, and as they're leaving, the officers can hear him being used as a practice dummy again, but they decide not to intervene.

Next they hear a call in their area for a unit that's not responding, so they take it. At the scene there's a young woman lying dead in the street with a crowd formed around her. The first thing they learn about her is that she'd been involved in a fight with a man at a bar. The emergency medical unit that arrives on the scene appears to be a precursor of the paramedics on Emergency!, but they're wearing what look like police uniforms. Tire tracks support that the woman, Barbara Stewart, was run over deliberately, and further questioning of those who witnessed to the fight indicate that it was over a pregnancy and that she wanted the man, Eddie Troy, to take her with him out of town. Back at the station the officers consult with a detective, but he doesn't think they have enough to go on to investigate it as a homicide, so he tells them to go to AI (which I assume stands for Accidents Investigation).

Having found contact information from a previous fighting incident with another man that Troy was involved in, the officers go to the man's address but he's either not in or pretending to be. They subsequently find his car parked nearby, with some damage in the front that includes a snagged piece of the woman's clothing. They park inconspicuously nearby, and thinking about how they need to catch Troy to have a case, Malloy calls him from a pay phone pretending to be a witness to what happened to lure him to the car. Troy (Gene Rutherford) shows up with a suitcase and they rush him as he begins to open the trunk. As they wrestle him to the ground and cuff him, he begins to cry and blubbers a confession that confirms what the witnesses heard in the fight, and indicates that she made him mad because she wouldn't get out of his car's way. Back at the station, he tries to change his story and sell it as an accident. The final twist: an AI investigator informs the officers that the medical examiner has determined that Barbara was not in fact pregnant.

_______

That's for sure.
I should also point out that Santana's next charting single--which won't be coming our way for about a year and will be their biggest hit of the era--is also a cover, of a song written by Peter Green and originally recorded by early Fleetwood Mac as their first charting single on that side of the pond (charted Apr. 13, 1968; #37 UK):
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The emergency medical unit that arrives on the scene appears to be a precursor of the paramedics on Emergency!, but they're wearing what look like police uniforms.

They were from the ambulance service run by the Los Angeles City Receiving Hospital, which was kind of a proto emergency medical facility run by the city and associated with the police department and the city jail. They appear in Adam-12 a few times. Online sources say that he ambulance functions transferred to the fire department in 1970.
 
so despite the subject matter, they're eating in a decent-looking Italian restaurant in the teaser, not at a hamburger stand...
Maybe they eat at the hamburger stand all week so they can afford one night out a week at a nice restaurant.

While Dr. Pullman is in the process of hyponitizing her, he takes a call from his wife and reacts to news of her latest spending spree by exclaiming, "At the drop of a hat you'll buy anything!"
In our genre version of That Girl, he's discussing his wife's diet and says, "At the drop of a hat you would eat a complete stranger."

an awards ceremony for the Amateur Chefs of America, which Ironside is attending as a nominee.
He wins and the name of the show is subsequently changed to Ironside Chef.

Mark is wheeled into the Ironsidecave in his own chair, and challenges the Chief to a race around the building once he's feeling strong enough.
They should have shown the actual race. :rommie:

And wouldn't Max's marriage to 99 be public knowledge? Or at least known of by KAOS?
Don't their parents know? If so, I would say everyone knows.

When the Chief gets to the "let him speak now, or forever hold his peace" part, everyone turns to look at 99.
They really should have considered the fact that she's a trained killing machine. :rommie:

highly regarded TOS guest Marianna Hill
Highly regarded indeed.

Hogan sends Newkirk, disguised as an old lady, to make the second contact with Eskimo to pick up supplies.
He must have loved that. :rommie:

Next they hear a call in their area for a unit that's not responding, so they take it.
That sounds a bit ominous, but seems to have gone nowhere.

They subsequently find his car parked nearby, with some damage in the front that includes a snagged piece of the woman's clothing. They park inconspicuously nearby, and thinking about how they need to catch Troy to have a case, Malloy calls him from a pay phone pretending to be a witness to what happened to lure him to the car.
Wouldn't forensics be able to cinch that by matching the clothing, blood, and tissue?

I should also point out that Santana's next charting single--which won't be coming our way for about a year and will be their biggest hit of the era--is also a cover, of a song written by Peter Green and originally recorded by early Fleetwood Mac as their first charting single on that side of the pond
Oh, yeah, proto-Fleetwood Mac. That's a great song.
 
Maybe they eat at the hamburger stand all week so they can afford one night out a week at a nice restaurant.
Not the impression the episode gave. They did note that Ann had an advantage in the food budget department because Donald was already taking her out to eat multiple times a week.

Don't their parents know? If so, I would say everyone knows.
IIRC, KAOS was there as well.

That sounds a bit ominous, but seems to have gone nowhere.
I'm assuming they got involved in something that had them leaving their vehicle without updating dispatch.

Wouldn't forensics be able to cinch that by matching the clothing, blood, and tissue?
They had to catch him unlocking the car to make the connection for whatever reason. They also didn't want to do things in a way that would give him an opportunity to clean up the evidence.
 
Not the impression the episode gave. They did note that Ann had an advantage in the food budget department because Donald was already taking her out to eat multiple times a week.
So Donald is the one who needs to manage his money. :rommie:

IIRC, KAOS was there as well.
The villains always show up at the heroes' wedding.

They had to catch him unlocking the car to make the connection for whatever reason. They also didn't want to do things in a way that would give him an opportunity to clean up the evidence.
Seems like they were being extra cautious, but as long as they got him.
 
Get Smart
"Widow Often Annie"
Originally aired October 17, 1969

99: You don't love me anymore because I'm fat and unattractive!
Max: That is ridiculous, 99--just because you're fat and unattractive doesn't mean that I stopped loving you!​

Funny, but Max is saying that he finds her unattractive while pregnant.

When the Chief gets to the "let him speak now, or forever hold his peace" part, everyone turns to look at 99.

..and she--exasperated by that point--just waves it off, which was one the most genuinely funny moments of this final and often strange season. Feldon played up the paranoid/jealous wife to the hilt.
 
55 Years Ago This Week

Wiki said:
October 26 – Eric Edgar Cooke becomes the last man executed in Western Australia, for murdering 8 citizens in Perth between 1959 and 1963.
October 27 – In the Democratic Republic of the Congo, rebel leader Christopher Gbenye takes 60 Americans and 800 Belgians hostage.
October 29 – A collection of irreplaceable gemstones, including the 565-carat (113.0 g) Star of India, is stolen from the American Museum of Natural History in New York City.
October 31 – Campaigning at Madison Square Garden, New York, U.S. President Lyndon Johnson pledges the creation of the Great Society.


Selections from Billboard's Hot 100 for the week:
1. "Baby Love," The Supremes
2. "Do Wah Diddy Diddy," Manfred Mann
3. "Last Kiss," J. Frank Wilson & The Cavaliers
4. "We'll Sing in the Sunshine," Gale Garnett
5. "Dancing in the Street," Martha & The Vandellas
6. "Let It Be Me," Betty Everett & Jerry Butler
7. "Have I the Right?," The Honeycombs
8. "Oh, Pretty Woman," Roy Orbison
9. "Little Honda," The Hondells

11. "Come a Little Bit Closer," Jay & The Americans

13. "A Summer Song," Chad & Jeremy
14. "Leader of the Pack," The Shangri-Las
15. "Tobacco Road," The Nashville Teens
16. "Ride the Wild Surf," Jan & Dean
17. "When I Grow Up (to Be a Man)," The Beach Boys
18. "I Like It," Gerry & The Pacemakers
19. "Everybody Knows (I Still Love You)," The Dave Clark Five
20. "I Don't Want to See You Again," Peter & Gordon
21. "I'm Crying," The Animals
22. "It Hurts to Be in Love," Gene Pitney
23. "Ain't That Loving You Baby," Elvis Presley
24. "You Must Believe Me," The Impressions
25. "Baby I Need Your Loving," Four Tops
26. "Remember (Walkin' in the Sand)," The Shangri-Las

28. "Bread and Butter," The Newbeats
29. "Baby Don't You Do It," Marvin Gaye
30. "Is It True," Brenda Lee
31. "Ask Me," Elvis Presley
32. "You Really Got Me," The Kinks

37. "I've Got Sand in My Shoes," The Drifters
38. "Girl (Why You Wanna Make Me Blue)," The Temptations
39. "Funny (How Time Slips Away)," Joe Hinton

41. "All Cried Out," Dusty Springfield

43. "Mercy, Mercy," Don Covay & The Goodtimers

45. "She's Not There," The Zombies
46. "Time Is on My Side," The Rolling Stones

51. "I'm Gonna Be Strong," Gene Pitney

57. "I'm into Something Good," Herman's Hermits

69. "Reach Out for Me," Dionne Warwick

74. "Gone, Gone, Gone," The Everly Brothers

78. "Everything's Alright," The Newbeats

80. "Walking in the Rain," The Ronettes

83. "Sidewalk Surfin'," Jan & Dean

90. "Mountain of Love," Johnny Rivers

94. "Oh No Not My Baby," Maxine Brown


Leaving the chart:
  • "From a Window," Billy J. Kramer w/ The Dakotas (10 weeks)
  • "G.T.O.," Ronny & The Daytonas (13 weeks)
  • "I'm on the Outside (Looking In)," Little Anthony & The Imperials (10 weeks)
  • "Matchbox," The Beatles (8 weeks)
  • "Rhythm," Major Lance (10 weeks)

Recent and new on the chart:

"Oh No Not My Baby," Maxine Brown
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(Oct. 24; #24 US; #2 R&B)

"Sidewalk Surfin'," Jan & Dean
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(#25 US)

"Mountain of Love," Johnny Rivers
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(#9 US; originally a #21 US, #7 R&B for Harold Dorman in 1960)

And this would be the first week since January with no Beatles songs on the chart. Take a well-earned breather before you pop out your next #1, boys.


New on the boob tube:
  • 12 O'Clock High, "Pressure Point"

_______

The villains always show up at the heroes' wedding.
And if you're the FF, that means all your villains.

Seems like they were being extra cautious, but as long as they got him.
I recall that one factor was that the radio sounded busy and they were afraid they'd get a call, and that he might have time to clean the evidence if they had to come back. Why they specifically needed to catch him in the act of unlocking the car I wasn't clear on, but Pete was being kind of mumbly.

Funny, but Max is saying that he finds her unattractive while pregnant.
That's the joke.
 
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^ I know his blunt honesty was the joke to viewers , but I'm pointing out that in-universe. Max actually thought 99 was fat and unattractive while pregnant, and that's cringeworthy.
 
"Walking in the Rain," The Ronettes
Phil Spector's "wall of sound" at it's best. Loved the Ronettes, Nedra, in particular.
"Reach Out for Me," Dionne Warwick
Another of Burt Bacharach's masterpieces that is perfect for Dionne's delicate touch. A pop classic.
"I'm Gonna Be Strong," Gene Pitney
This might also be a Bacharach tune, haven't checked, regardless, I loved Gene Pitney and I loved this song.
On October 18, 1964, the Beatles for Sale sessions have the Fabs working on a combined cover of Leiber & Stoller and Little Richard:
Once again, the Beatles take an R&B classic and hit it out of the park.
We then proceed to the album's best-known track, future hit single "Evil Ways"
(charts Jan. 24, 1970; #9 US; #19 AC), a cover of a song written by Clarence "Sonny" Henry:
Spent many hours of my college time getting high to this album.
"Oh No Not My Baby," Maxine Brown
One of the best of Carol King's simple and beautiful little love songs.
"Mountain of Love," Johnny Rivers
Johnny Rivers could do no wrong as far as I was concerned. Loved all of his hits.
 
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