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The Classic/Retro Pop Culture Thread

”A Change Is Gonna Come," Sam Cooke
One of the most achingly beautiful songs ever written, IMO. “Change” not only captured perfectly the very serious and somber tone of the times, but was also closely associated with Sam’s untimely death.

Sam was a musical artist who actually did have a profound affect on the civil rights movement during his life and after his death. “Change” was used to incredible affect in Spike Lee’s Malcolm X as Malcolm is preparing to go to the Audubon Ballroom where he will die. Even if you don’t know the story, the sound of those mournful strings in the song’s intro just rips you to shreds.

The song’s melody, arrangement, and lyrics, have the kind of gravitas that will forever keep it as an integral link between a national movement that changed, and continues to change this country.
 
"Superstar," Murray Head w/ The Trinidad Singers
Amazing. This was another album that I listened to endlessly as a child (giving my Mother some hope that the atheism thing would pass :rommie: ). Not just the incredibly clever and creative lyrics grabbed me, but the distinctive and diverse music throughout-- every song as catchy as a hit single.

I didn't think I'd know this, but I do-- I just never knew it was proto-Fleetwood Mac. It's good.

"The Rapper," The Jaggerz
This is pretty good.

"Travelin' Band," Creedence Clearwater Revival
This is Creedence!

"Who'll Stop the Rain," Creedence Clearwater Revival
This is also Creedence!

A seminal civil rights anthem, it also earned a place in the Library of Congress's National Recording Registry, and...
Wow, that's pretty sweet. :bolian:

With this, Shirley Bassey sets the standard for Bond title themes.
I think the only one that reaches that level is "Live And Let Die."

Drat, I was hoping to be the one to break it to you.
Sorry about that, but I appreciate it.

Just count your blessings that it survived the Eugenics Wars and/or World War III!
Not to mention the Second Molasses Disaster of 2061.

Didn't know you had your own board!
Yeah, it's a small quiet place for a bunch of really nice people, where you are certainly welcome (just give me warning, because I had to close registration due to the Bot Apocalypse).

But you know we've got a forum for the show here, right?
I do, but it scares me. :rommie: I peeked in there before and found a torrent of fanboy slappy fights. But I'll go over and post my post when I'm done here.

Earbuds, dude!
I know, I have to find them. But it just aggravates me.
 
One of the most achingly beautiful songs ever written, IMO. “Change” not only captured perfectly the very serious and somber tone of the times, but was also closely associated with Sam’s untimely death.

Sam was a musical artist who actually did have a profound affect on the civil rights movement during his life and after his death. “Change” was used to incredible affect in Spike Lee’s Malcolm X as Malcolm is preparing to go to the Audubon Ballroom where he will die. Even if you don’t know the story, the sound of those mournful strings in the song’s intro just rips you to shreds.

The song’s melody, arrangement, and lyrics, have the kind of gravitas that will forever keep it as an integral link between a national movement that changed, and continues to change this country.
Another major civil rights anthem, by different artists, will be coming our way in a couple of weeks.

Amazing. This was another album that I listened to endlessly as a child (giving my Mother some hope that the atheism thing would pass :rommie: ). Not just the incredibly clever and creative lyrics grabbed me, but the distinctive and diverse music throughout-- every song as catchy as a hit single.
:lol: I wasn't sure what you'd think of this one, given its subject matter!

I didn't think I'd know this, but I do-- I just never knew it was proto-Fleetwood Mac. It's good.
Post-proto Mac also did it later, on a live album.

This is pretty good.
Kinda lightweight and unmemorable in my book, but we'll see if it grows on me.

This is Creedence!
This is also Creedence!
They are indeed...from what will be their fifth album over a span of barely over two years...a rate at which acts just weren't releasing albums at this point. I've read some stuff about how Fogerty was pushing the band to capitalize on their success.

I think the only one that reaches that level is "Live And Let Die."
I'd put "Nobody Does It Better" up there.

I do, but it scares me. :rommie: I peeked in there before and found a torrent of fanboy slappy fights.
It's actually been a remarkably well-behaved forum thus far...if crazy busy the last couple of days. I volunteered...! :crazy:

But I'll go over and post my post when I'm done here.
I was surprised that you didn't get an "OK, boomer!" for that first main paragraph! :p
 
:lol: I wasn't sure what you'd think of this one, given its subject matter!
As fiction, it's great, as well as culturally significant. I've used Christian mythology a few times in my own work.

Post-proto Mac also did it later, on a live album.
Hmm, maybe that's where I actually know it from.

They are indeed...from what will be their fifth album over a span of barely over two years...a rate at which acts just weren't releasing albums at this point. I've read some stuff about how Fogerty was pushing the band to capitalize on their success.
And with no loss of quality.

I'd put "Nobody Does It Better" up there.
I don't really like that one. I thought the Bond movies really went off the rails after Man With The Golden Gun, until For Your Eyes Only.

It's actually been a remarkably well-behaved forum thus far...if crazy busy the last couple of days. I volunteered...! :crazy:
That's a long freakin' thread.... :rommie:

I was surprised that you didn't get an "OK, boomer!" for that first main paragraph! :p
Me, too. :rommie: Ideologues of any stripe don't like uncomfortable truths. Although I have seen more and more examples in the media and arts that the times they are a'changin' when it comes to Millennial culture-- not the least of which was Obama's recent speech.
 
_______

55th Anniversary Viewing

_______

12 O'Clock High
"The Lorelei"
Originally aired January 22, 1965
IMDb said:
Every series deserves at least one good spooky episode, and this is it for 12o'H. The Lorelei is a bomber that returns from a mission and lands intact, but with its entire crew dead. Gen. Savage assigns the plane to his new 2nd-in-command, Col. Royce, who he's supposed to evaluate for assignment as a group commander. Royce is a highly-experienced, decorated, and well-liked pilot with one apparent flaw; he's decidedly superstitious, and he's just been handed command of a Flying Dutchman that seems to have a mind of its own. The Twilight Zone visits the 918th.

Crowe has just assigned Col Royce (Rip Torn) as Savage's new deputy group commander--primarily for evaluation purposes, to determine if he's ready to lead his own group--when the Lorelei lands and nobody gets out. Kaiser finds everyone inside dead, and guesses that the pilot must have died right after landing. The ground crew determine that the plane can fly again with some repairs, and Royce is assigned to command her against his protests. He renames the plane the Four-Leaf Clover, and we see him rubbing a rabbit's foot during his first bombing run on her.

The bombing run goes well, but the flight controls jam afterwar, just as the Luftwaffe attacks. The plane's path takes it into some cloud cover and the crew eventually manages to regain control. On the ground, Royce gives his bombardier (Bruce Dern) a talking-to for treating the plane like it has a mind of its own. Dern points out to him how the bomber's original name is now showing through the Four-Leaf Clover insignia. Royce requests being assigned to another craft, but Savage denies it. On the next run the bomb release malfunctions, delaying long enough to cause the whole group to drop on the wrong spot.

During Royce's next mission, Mrs. Royce (Diana van der Vlis) has dinner with Savage, trying to intervene on her husband's behalf because Royce can tell that Savage doesn't like him. Mrs. Royce provides some awkward exposition about how Col. Royce is warm and sensitive and everybody else loves him. Savage goes back to base to learn that Royce didn't lead his mission because he was sick, and another man died in his place. He's trying to get to the bottom of things when Crowe pops in to micromanage the situation as usual. It turns out that Crowe had to ground Royce when he wouldn't stay on the ground because of food poisoning. In his office, Savage shares his belief with Crowe that Royce's superstition is only a symptom. He thinks that Royce has enjoyed too many advantages and won't hold up when things get really tough.

On the next mission, Royce has to abort because of two engines failing. The bombs won't release, and the colonel has the crew bail against Savage's instructions. Now unmanned, the Lorelei flies on over England with a full bomb load. Savage and Cobb go after her in the Lily, catching up over Liverpool. Once the rogue bomber is over water, he has his gunners blow her to smithereens.

The Epilog finds Royce heading for a temporary desk job. It's unclear what's in store for him after that, but Crowe has apologized to Savage and Royce says that his time with the 918th has been instructive.

It definitely seems like the show was falling into a formula by this point--Savage has to deal with an unlikeable guest officer with issues, Crowe intervenes in a way that counters Savage's better judgment. In this case, I'm not sure that the situation really got any on-camera resolution...Royce's story just sort of ended for us.

Royce's co-pilot is recognizable two-time Trek guest Barry Russo.

_______

Gilligan's Island
"Little Island, Big Gun"
Originally aired January 23, 1965
Wiki said:
Trying to evade the police after a heist, a gangster (Larry Storch) is dropped off on the island, planning to hide out for a while. Discovering that the island is occupied, he poses as a doctor. When he is found out, the castaways get a firsthand taste of gangster culture.

The first sign of Jackson Farrell's (Storch) presence on the island is when Gilligan smells bacon. He subsequently runs into Farrell while gathering dates by shooting them down from trees with a bow and arrow. Farrell initially claims to be a shipwrecked doctor who was headed for an island with natives. It's a bit of a stretch that everyone else buys his story, even the Professor.

Gilligan hears a radio report about Farrell, and is in the process of trying to covertly warn the others when everyone hears another broadcast. Farrell ties the men up on their...cots? What happened to the hammocks? They escape and make some unsuccessful attempts to get the upper hand on their captor. A rival mob comes looking for Farrell, so he has the castaways dress as natives while holding Mary Ann hostage. The ruse works, and Farrell's partner comes back for him. Thanks to Gilligan, the loot bag falls into the lagoon and gets chopped up by the boat's motor. With Farrell's gun waterlogged after his attempt to save the money, the hoods find themselves having to escape from the angry castaways.

The coda has Gilligan gluing the fragments of the money together into "one long million-dollar bill".

_______

So it looks like the Weigel networks will be undergoing some weekend lineup changes starting February 8-9. H&I will have a war show block on Saturday nights, which will include Black Sheep Squadron, Tour of Duty, Combat!, The Rat Patrol, and 12 O'Clock High. They'll also be doing something like their old Comic Book Heroes block on Sunday morning/afternoon, which includes bringing over Wonder Woman. This made me check MeTV's schedule, and sure enough, after several years they're taking Wonder Woman out of their Saturday night lineup. What will be taking its place? More Three Stooges--looks like they'll be airing it for two hours now!

On H&I, the Big Three will be airing back-to-back-to-back again, starting at 11 a.m.: Adventures of Superman, Batman, and Wonder Woman. Superman, Batman, and The Green Hornet will also be maintaining their current H&I slots on Saturday and Sunday mornings.
 
Kaiser finds everyone inside dead, and guesses that the pilot must have died right after landing.
No puncture wounds on their necks? Rip off!

He renames the plane the Four-Leaf Clover, and we see him rubbing a rabbit's foot during his first bombing run on her.
I'm surprised they didn't use this one on Halloween.

In his office, Savage shares his belief with Crowe that Royce's superstition is only a symptom. He thinks that Royce has enjoyed too many advantages and won't hold up when things get really tough.
I think it would have been better to really explore how superstition affects people in wartime and combat situations.

On the next mission, Royce has to abort because of two engines failing. The bombs won't release, and the colonel has the crew bail against Savage's instructions. Now unmanned, the Lorelei flies on over England with a full bomb load. Savage and Cobb go after her in the Lily, catching up over Liverpool. Once the rogue bomber is over water, he has his gunners blow her to smithereens.
Now there's a tense situation.

Farrell initially claims to be a shipwrecked doctor who was headed for an island with natives. It's a bit of a stretch that everyone else buys his story, even the Professor.
It's a stretch that anyone would believe anything Larry Storch said, ever. He was a great guest star for this show. :rommie:

he has the castaways dress as natives while holding Mary Ann hostage.
Why that dirty--!

The coda has Gilligan gluing the fragments of the money together into "one long million-dollar bill".
A work of modern art that even Mr Howell could appreciate. :rommie:

This made me check MeTV's schedule, and sure enough, after several years they're taking Wonder Woman out of their Saturday night lineup. What will be taking its place? More Three Stooges--looks like they'll be airing it for two hours now!
Yikes. That's not good, and also weird-- I wonder if MeTV was taken by surprise. There's been nothing in their emails about schedule changes. Two hours of Three Stooges is a lot, especially since the show really is out of their usual wheelhouse. I wonder if it's getting better ratings than Wild Wild West did, or if they're just getting paid a lot to air it.
 
"Superstar," Murray Head w/ The Trinidad Singers
(#74 US this run; recharts twice in 1971, eventually reaching #14 US)

Despite using the last week of Christ's life as its story, the song and musical was so loose with the historical/spiritual account that it was as far removed from truth as The Untouchables TV series was from the real (and far less adventurous) career of Eliot Ness. Songs referencing Jesus's life, mission, or belief in Him which were far more effective were Norman Greenbaum's 1969 hit "Spirit in the Sky" (despite the fact Greenbaum was Jewish by belief) or The Doobie Brothers' cover of "Jesus Is Just Alright" (1972), ever the listenable song.

"The Rapper," The Jaggerz
(#2 US)

Crap, crap and more crap!

"Travelin' Band," Creedence Clearwater Revival
(#2 US as double A-side w/ "Who'll Stop the Rain"; #8 UK)

That song was on fire. Instant classic.

"Who'll Stop the Rain," Creedence Clearwater Revival

Good song, but not one I revisit often.



One of the most achingly beautiful songs ever written, IMO. “Change” not only captured perfectly the very serious and somber tone of the times, but was also closely associated with Sam’s untimely death.

I've always felt that those who associated the song with his death were just absorbing the tragedy and song--sort of conflating their meanings, when one had nothing to do with the other in any way, even as a hint of what his fate would be.

Sam was a musical artist who actually did have a profound affect on the civil rights movement during his life and after his death. “Change” was used to incredible affect in Spike Lee’s Malcolm X as Malcolm is preparing to go to the Audubon Ballroom where he will die. Even if you don’t know the story, the sound of those mournful strings in the song’s intro just rips you to shreds.

Personally, I've felt Nina Simone's "Mississippi Goddamn" (1964) & The (SNCC) Freedom Singers' "In the Mississippi River" (1965) were far stronger comments on what was one of the most significant "ground zero" locations/targets of the Movement. Because of its incredibly powerful senate-to-local authority-to-average-white-citizen smothering, violent enforcement of what has been accurately described as "American Apartheid," so many horrifying events took place there, paralleled with major events such as Freedom Summer--both capturing the attention of the nation--and many nations around the world.

Those songs just paint the cold, brutal, disheartening truth of a region that could not stay out of the news, or even avoid the begruding attention of the federal government.
 
_______

50th Anniversary Viewing (Part 1)

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Mission: Impossible
"The Falcon: Part 3"
Originally aired January 18, 1970
Wiki said:
The IMF launch the last stage of their plan, but time is running out… This is the series's only three-part episode.
The drive-in theater speaker in the seven-minute recap said:
the same condensed version as it did last week.

As the episode commences, Fake Nicolai plants the list in the safe and slips away in time, as expected. Vargas finds his name on the list as Vinsky told him.

At the prison, Jim commences his fake interrogation of Prince Stephan, and Sabattini is called back to the palace by Vargas before Jim has obtained any fake results. Meanwhile, a simulated gas leak and some phone-patching trickery has gotten Barney into the prison as the gas man. A more-extended-than-usual sneaking around and breaking into places sequence ensues. Well into his truly unsuccessful fake questioning, Jim whispers his true motives in Stephan's ear, but Stephan loudly refuses to believe him before Jim convinces him to just keep his mouth shut. As the fake interrogation continues, Stephan begins to see bits of Jim's plan coming together...like Barney drilling a hole from the other side of a wall to extend a device behind an archway where the guards can't see it.

Buccaro has a clock delivered to (Fake) Nicolai that's really a bomb meant to kill him and Sabattini. Vinsky learns of it and is emphatic that Nicolai must live. They keep us hanging for a commercial break as Vargas tries to call Buccaro to cancel his manual triggering of the device...and surprisingly, the device actually gets triggered! It was a lousy assassination attempt, as both Fake Nicolai and Sabattini survive...but in the aftermath of the explosion, Paris is unmasked. Tracey slips away and gets a phone call to Jim at the prison to let him know everything's gone to hell. Jim in turn calls Willy to cut off communication lines to the prison while he also distracts the guards and remotely deploys the projection curtain gimmick (consisting of vertical blinds) that was demonstrated in Part 1's briefing and included in this week's recap, which makes it look like Jim is interrogating Stephan while they work at their escape from behind the curtain.

Having learned that Francesca isn't in her tomb, Sabattini attempts to question Paris and Tracey and begins to put it all together, ultimately realizing that Jim is working with them and plans to free Stephan. Sabattini heads for the prison despite his injury, and Paris signals Willy to release his secret weapon: Lucifer! Heading straight for Paris's device, with the help of an open window he attacks one of the guards and Paris overpowers his captors.

Meanwhile Barney has managed to cut a hole in the wall between the shaft and Stephan's cell, despite regular interruptions from the elevator, during which he has to stand very snug against the wall on his tiny ledge (you know he loves it). But as Sabattani's elevator comes down, one of Stephan's cut chains snags on something, so he and Jim have to flatten themselves underneath the car. Sabattini tries to shoot Rear Projection Jim and eventually hits the projector in Jim's briefcase. Inspecting behind the curtain, Sabattini succumbs to his injuries. In the meantime, Barney, Jim, and Stephan blow their way out via charges that Barney had set earlier and get picked up by Willy in his gas van. Paris and Tracey manage to make their rendezvous with the van, and we find the trio they were trying to rescue--Nicolai, Stephan, and Francesca--reunited in the back of the Willymobile. Mission: Accomplished.

I have to say, that may have been the best "unforeseen kink in the plan" moment yet. The last 20 minutes were pretty damn good.

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Rowan & Martin's Laugh-In
Season 3, episode 18
Originally aired January 19, 1970
The Wiki list of guest appearances said:
Bing Crosby, Sammy Davis Jr., David Frye, Peter Lawford, Ed McMahon

This week's Quickies:
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Ernestine calls a "Mr. Milhous":
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The News intro song is stripper-themed.

The Fickle Finger of Fate goes to the Farmers Home Administration:
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A salute to women:
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Not sure what the painting theme is about here.

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TGs4e17.jpg
"That Metermaid"
Originally aired January 22, 1970
Wiki said:
Don's new boss and Ann relate a story about Ann's summer job back home when she was younger and worked as a metermaid.

It turns out that Donald's New Boss of the Week, Lewis M. Franks (Dennis Weaver), is very casually friendly with Ann...going back to when she met him five years ago when she was still living in...Fenwick? This is now said to be where the Maries lived before they moved to Brewster. Never mind that we know she went to high school in Brewster. I'm sure there were plenty of other references that linked her childhood to Brewster and the family's home there, and I'll certainly be on the lookout for them in the future. I suspect that they just made up another town (which appears to be completely fictional...and looks like it's in California) to avoid any problems with the real Brewster in New York state, given what the story gets into.

In her flashback story, Ann is so reluctant to write out her first ticket that puts another coin in herself. She's more eager to call a tow truck for a car parked in front of a hydrant. But it turns out to be the mayor's car, so the police don't want to cooperate with her. Ann gets all worked up when she learns about the corruption in the system that lets all levels of city officials get out of tickets...then she gets fired and takes her story to the local weekly paper, which Lewis publishes. He prints her letter to the editor, which gets Mr. Marie in hot water, though he stands up for her. The paper also loses a major sponsor, a department store that the mayor owns. Ann forces her way into the mayor's (Tol Avery) office to confront him about the matter.

Supposedly Mr. Marie's Fenwick restaurant subsequently went out of business and that's why they moved to Brewster. And the mayor is said to have gotten voted out of office in the next election.

In the present, Ann, Donald, and Lewis decide to go to lunch and Ann makes a comment that if Donald's buying, there's a nice little hamburger place they could go to!

"Oh, Donald" count: 0
"Oh, Daddy" count: 2
"Oh, Lewis" count: 1
"Oh, Mr. Franks" count: 1

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Ironside
"Beware the Wiles of a Stranger"
Originally aired January 22, 1970
Wiki said:
A waitress who played a part in a robbery picks Mark as a fall guy.

Candy (ex-"the movie star" Tina Louise) is working as a cocktail waitress in a gambling den that gets robbed. It turns out that she's actually an accomplice, and tasked with finding "a body" to take the fall for the robbery. She's subsequently picked up while hitchhiking by Mark, who's heading back to Frisco from somewhere.

Mark and Candy have trouble getting checked into a hotel together even though they're asking for separate rooms; and more trouble getting waited on in a coffee shop. Meanwhile, a couple of mob types from the group who were robbed are on their tail--the actual robber, Fred (John Ericson), who was wearing a mask for the robbery, and Bryce (former substitute Artie Charles Aldman). They're waiting in Candy's hotel room when Mark and Candy return from a day of shopping.

The plan had been to make it look like Mark was the robber, but alone with Fred, Candy seems to be having second thoughts about it. Mark overpowers Bryce and he and Candy make a break. Mark calls the Ironsidecave--a full halfway into the episode, which is the first we see of the rest of the team. Pretty sure they haven't done that before. The pair continue running, and Mark has by this point figured that she was setting him up, noting how she went out of her way to draw attention to the two of them everywhere they went. She shares with him that the plan was for Fred to send him over a cliff in a burning car. Bryce tagging along with Fred was an unanticipated complication, so he now plans to off him in the same crash. Mark figures that Fred was planning to off Candy as well so he wouldn't have to split the money. When Fred and Bryce find them, Mark tries to tell Bryce what the score is. Bryce listens, so Fred tries to pull a gun and gets himself shot. The loot is retrieved but Bryce wants to take Mark and Candy to his boss so he can decide what to do with them.

The Chief doesn't make the scene until the last quarter of the episode. Liaising with local law enforcement, he finds Fred's body. When Bryce, Mark, and Candy arrive at the boss's gambling den, the Chief and the police are there, having found the place with the help of a long-distance call that had been made from the hotel. Mark won't help Candy cover for her role in the affair, but Ironside thinks they'll go easy on her for turning state's evidence.

The front credits are back and Louise and Aldman are in them. William Boyett appears uncredited as a policeman blocking a closed road.

_______

I think it would have been better to really explore how superstition affects people in wartime and combat situations.
A Black Sheep episode did something like that. IIRC, it was an episode about a pilot nobody wanted to fly with because he had a reputation for being a jinx. There was a scene that had Pappy pointing out the good luck charms that everyone was carrying with them.

Yikes. That's not good, and also weird-- I wonder if MeTV was taken by surprise. There's been nothing in their emails about schedule changes. Two hours of Three Stooges is a lot, especially since the show really is out of their usual wheelhouse. I wonder if it's getting better ratings than Wild Wild West did, or if they're just getting paid a lot to air it.
The Three Stooges will gradually consume more and more of Me's schedule until it becomes ThreeTV.

Crap, crap and more crap!
You should have said: "The Crapper".
 
I've always felt that those who associated the song with his death were just absorbing the tragedy and song--sort of conflating their meanings, when one had nothing to do with the other in any way, even as a hint of what his fate would be.
True, in fact I think Change had been released sometime before Sam’s death. The reason it’s related to his death by some, is probably because of the the song’s melancholy beauty, IMO.

But just like MLK’s anointing of the gospel tune, Free at Last, which is a song about being freed from sin by Jesus, as a civil rights anthem in hsI Have a Dream speech, sometimes songs do get associated with people or events with whom they have no real connection.
Personally, I've felt Nina Simone's "Mississippi Goddamn" (1964) & The (SNCC) Freedom Singers' "In the Mississippi River" (1965) were far stronger comments on what was one of the most significant "ground zero" locations/targets of the Movement. Because of its incredibly powerful senate-to-local authority-to-average-white-citizen smothering, violent enforcement of what has been accurately described as "American Apartheid," so many horrifying events took place there, paralleled with major events such as Freedom Summer--both capturing the attention of the nation--and many nations around the world.

Those songs just paint the cold, brutal, disheartening truth of a region that could not stay out of the news, or even avoid the begruding attention of the federal government.
I also agree that there were and are, some great and very powerful civil rights anthems, songs like Mississippi Goddamn, and Nina Simone, in particular. But she and Sam were playing in different sandboxes. In addition to being as stylistically different as two artists could be, with Nina as far from being mainstream as Sam was a mainstream ico, Nina could afford to be as strident and direct as she wanted. Sam and others in pop music, had to couch their messages in metaphor and dance grooves, but the messages were the same.
 
Paris signals Willy to release his secret weapon: Lucifer! Heading straight for Paris's device, with the help of an open window he attacks one of the guards and Paris overpowers his captors.
Go, Lucifer! He should have been made a regular, too.

during which he has to stand very snug against the wall on his tiny ledge (you know he loves it).
:rommie:

I have to say, that may have been the best "unforeseen kink in the plan" moment yet. The last 20 minutes were pretty damn good.
When you subtract all the recaps and everything, this probably comes out to a movie-length story. It's kind of surprising that they didn't release it as a movie, like they did with Man From UNCLE.

The News intro song is stripper-themed.
There's a notable lack of video here.

Modern art? They seem to be having fun, anyway. :rommie:

Fenwick? This is now said to be where the Maries lived before they moved to Brewster.
Retcon!

He prints her letter to the editor, which gets Mr. Marie in hot water, though he stands up for her.
A rare episode that makes Mr Marie look good.

Ann forces her way into the mayor's (Tol Avery) office to confront him about the matter.
Only to discover that the mayor and his staff are the vanguard of an alien invading force. After several hours strapped into the Brain-O-Tron, she is allowed to leave, her memories of the incident forever erased.

Candy (ex-"the movie star" Tina Louise)
Ah, a rare appearance by that actress who was too good for Gilligan's Island. :D

Mark calls the Ironsidecave--a full halfway into the episode, which is the first we see of the rest of the team. Pretty sure they haven't done that before.
It's a Mark solo adventure!

Mark won't help Candy cover for her role in the affair, but Ironside thinks they'll go easy on her for turning state's evidence.
She was sentenced to three years solitary confinement on a deserted island.

A Black Sheep episode did something like that. IIRC, it was an episode about a pilot nobody wanted to fly with because he had a reputation for being a jinx. There was a scene that had Pappy pointing out the good luck charms that everyone was carrying with them.
I'm sure there was a ton of stuff like that.

The Three Stooges will gradually consume more and more of Me's schedule until it becomes ThreeTV.
At least we'll have a better chance of seeing Shemp episodes. I wonder if tomorrow's email will say anything.
 
_______

50th Anniversary Viewing (Part 2)

_______

Get Smart
"Rebecca of Funny-Folk Farm"
Originally aired January 23, 1970
Wiki said:
Max drops a courier package from a plane and it lands on the roof of a mansion. In an effort to retrieve the package, caught in the pouring rain, Max and 99 seek a temporary refuge from the elements and have to deal with the kooky inhabitants. The sadistic châtelaine, Mrs. Van Hooten (Gale Sondergaard), thinks 99 is her long-lost sister Rebecca, for whom 99 is indeed a doppelgänger. The title is a spoof of Rebecca of Sunnybrook Farm.

In the teaser, Max calls the Chief from his plane on a balloon phone, which he has to blow up to use.

Max and 99 get involved in a half-baked, weird murder mystery. The Chief and Larabee eventually show up, and Larabee saves the day when he accidentally knocks the killer down the stairs.

Max directly addresses that he doesn't know 99's name. Seems pretty unlikely when they're married, living together, and have had children, but whatever.

_______

The Brady Bunch
"The Undergraduate"
Originally aired January 23, 1970
Wiki said:
Greg seems to be having trouble with math. Mike and Carol discover that Greg's "math trouble" is actually him having a crush on his math teacher, Miss Linda O'Hara (Gigi Perreau). The situation is resolved when Miss O'Hara's fiancé, Los Angeles Dodgers baseball team's first base player Wes Parker, promises Greg two tickets to the next season's opener if Greg promises to get an A in math.

Carol thinks that Greg must be sick when he doesn't go to the movies with the other boys. Then Greg has to show Mike a math test that he flunked. Following that, he tries to talk to Marcia about how girls think about things. This includes a pretty cute scene where she's describing traits of various celebrities--Steve McQueen, Gene Barry, Paul Newman, Dustin Hoffman, and Dean Martin--and Greg does a non-verbal imitation of each while she's not looking. His ultimate takeaway from the exchange is that he needs to grow a mustache, but biology isn't on his side for that one yet.

Light is shed on the situation when Alice finds a love letter in Greg's laundry to a Linda, quoting Shakespeare and Robert Burns. Carol looks through Greg's annual but can't find a Linda in his class. We get the final piece of the puzzle when we find Greg mooning over his math teacher while staying after school. His mind clearly isn't on what she's trying to teach him.

Mike tries to have a man-to-man talk and, when he broaches the subject of girls, Greg thinks that he's trying to have "that talk"...and this time we're told that Greg and Peter have had it separately, and Bobby hasn't yet. Marcia brings some classmates home to work on a project and one of them happens to be named Linda, so Carol thinks that's the one, but when Greg comes home, there's no reaction. A letter from Greg's math teacher finally shines light on the situation for the parents. Mike goes to the school to talk to her...

Miss O'Hara: Well something's wrong, I'm just not getting through to him.
Mike: Oh, you're getting through to him alright.​

Mike finds out about O'Hara's fiancé, who's waiting for her outside, before he even gets around to telling her what the situation is. He immediately goes out to enlist Wes's aid, which is successful, as hero worship displaces Greg's crush.

In the coda, Carol finds Greg in his room daydreaming about his substitute teacher in biology, whom he's a lot more immediately open about to serve the gag.

This was a pretty cute episode overall, though the solution to Greg's issue seemed a little too easy and contrived.

_______

Hogan's Heroes
"The Softer They Fall"
Originally aired January 23, 1970
Wiki said:
The Nazis intend to prove they’re the master race, even if it means cheating their way through a boxing match between Bruno the Stalag guard and Kinchloe.

Klink enlists Kinch's help to be Bruno's (Chuck Hicks) sparring partner in preparation for an upcoming stalag championship. The prisoners learn of a classified plan to knock out British radar that's being worked on at the Stalag, so in order to steal intel, they have to arrange a distraction. They have Kinch knock out Bruno in one of their sparring matches while Klink and Burkhalter are present, which motivates the general to arrange a real fight between them to prove that a German can beat an African American. Burkhalter specifically references that Kinch is black and compares the situation to Jesse Owens at the 1936 Olympics.

Going into the fight, Kinch's main concern is stringing out his victory long enough to achieve their objective. But as advertised, Burkhalter wants to make sure they win, so he has Bruno put metal knuckle-guards in his gloves. Now Kinch actually has to worry about staying in the fight long enough. Meanwhile, Carter's manipulating the volume on the sound system so that the guards listening from outside get closer to the speakers while LeBeau does his thing. Kinch manages to knock out Bruno despite his handicap, but Hogan forfeits the fight, expressing concern for what will happen to Kinch after Bruno gets back up...which he doesn't.

At one point, Hogan sarcastically refers to his men as "Hogan's Cowards". This is the first time I've seen the show's title referenced in-setting, but I didn't start at the beginning.

Carry on.

_______

Adam-12
"Log 14: S.W.A.T."
Originally aired January 24, 1970
Wiki said:
Created within the Los Angeles Police Department, the Special Weapons and Tactics team (which includes Malloy and Reed) are called in to find and take out a sniper.

The episode opens with Reed and Malloy rushing onto the scene of a backlot rooftop sniper incident. Ducking low in the car, they drive up to a wounded man, get him into the car on the side facing away from the sniper, and get him around a corner where an ambulance takes him. Then a motorcycle cop with a broken radio drives onto the street and gets wounded, but is rescued with the help of a brave citizen who pulls him off the street, Ron Thompson (Adam Wade). MacDonald makes the scene and sets up a command post, quickly determining that he'll use S.W.A.T. teams to deal with the situation. In the meantime, the officers evacuate the tenants of the apartments across the street from the sniper, who include a boy who goes into the street after his dog and a woman who was shot in her apartment.

S.W.A.T. leader Sgt. Baron (Lew Brown) arrives, and it's established that Reed and Malloy have trained with him, so they suit up and join his team. A reporter also arrives and gives MacDonald an opportunity to deliver some exposition about Special Weapons And Tactics teams for the benefit of the audience. Thompson recognizes the sniper as an acquaintance of his called John Kursko (Thomas Bellin), a disgruntled former employee of the theater whose roof he's been shooting from. Baron sends a sniper of his own to the roof of another building and, with the help of smoke grenades and noisemaking fireworks, two three-man S.W.A.T. teams climb up to the rooftop where the sniper is. Malloy tries to talk down Kursko while Reed sneaks up on him. The officers tackle and cuff him.

They've used this backlot before, but it's so obviously fake that at the beginning, I was expecting the sniper incident to be a training exercise.

_______

Go, Lucifer! He should have been made a regular, too.
Wait'll you see this week's guest agent. The IMF is becoming a trained animal act....

There's a notable lack of video here.
Only for lack of being able to find the clip. It was, of course, very tame...a mere suggestion of a striptease act.

A rare episode that makes Mr Marie look good.
He tends to have those moments where we see that he's ultimately motivated by his love for his daughter. I don't always mention them.
 
Max directly addresses that he doesn't know 99's name. Seems pretty unlikely when they're married, living together, and have had children, but whatever.
I'm just proud of her for not changing her name to Ninety-Smart.

"The Undergraduate"
The title is a spoof of the movie The Graduate.

We get the final piece of the puzzle when we find Greg mooning over his math teacher while staying after school.
Ah, Mrs Williams. Seventh Grade French. That cleavage would probably be considered child molestation these days.

This was a pretty cute episode overall, though the solution to Greg's issue seemed a little too easy and contrived.
It's The Brady Bunch. Easy and contrived is the name of the game. :rommie:

The prisoners learn of a classified plan to knock out British radar that's being worked on at the Stalag
Because all the other meeting space has been reserved again.

Burkhalter specifically references that Kinch is black
Personally, I suspected as much.

and compares the situation to Jesse Owens at the 1936 Olympics.
Which is kind of amazing for Hogan's Heroes.

Ducking low in the car, they drive up to a wounded man, get him into the car on the side facing away from the sniper, and get him around a corner where an ambulance takes him.
I remember this. Pretty exciting for Adam-12.

a disgruntled former employee of the theater whose roof he's been shooting from.
Ah, so he's just acting out.

They've used this backlot before, but it's so obviously fake that at the beginning, I was expecting the sniper incident to be a training exercise.
"Computer, end simulation."

Wait'll you see this week's guest agent. The IMF is becoming a trained animal act....
Groovy! I want to see dolphins, apes, and elephants!

Only for lack of being able to find the clip. It was, of course, very tame...a mere suggestion of a striptease act.
As long as Teresa was involved.

He tends to have those moments where we see that he's ultimately motivated by his love for his daughter. I don't always mention them.
Oh, well that's nice.
 
I'm just proud of her for not changing her name to Ninety-Smart.
Wouldn't that be 96?

Ah, Mrs Williams. Seventh Grade French. That cleavage would probably be considered child molestation these days.
:lol:

It's The Brady Bunch. Easy and contrived is the name of the game. :rommie:
If it is, it doesn't usually make itself so obvious.

Ah, so he's just acting out.
That took a second reading.

Me has caught up to where I'm at with Adam-12, so I've now deleted my Cozi recordings and am rerecording them from Me, hoping that the syndication editing will be a bit better. As a bonus, it temporarily gains me some DVR space.

Where I left off with Dragnet is about to start recording on Friday as well.

Groovy! I want to see dolphins, apes, and elephants!
You'll have to settle for something a little more domestic. Meet the title character of "Chico":
MI32.jpg
He's no Eartha Kitt, but seeing him belly-crawl through a ventilation shaft is pretty darn cute.
 
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55 Years Ago This Week

Wiki said:
February 4 – Trofim Lysenko is removed from his post as director of the Institute of Genetics at the Academy of Sciences in the Soviet Union. Lysenkoist theories are now treated as pseudoscience.
February 6 – English footballer Sir Stanley Matthews plays his final First Division game, at the record age of 50 years and 5 days.



Selections from Billboard's Hot 100 for the week:
1. "You've Lost That Lovin' Feelin'," The Righteous Brothers
2. "Downtown," Petula Clark
3. "The Name Game," Shirley Ellis
4. "This Diamond Ring," Gary Lewis & The Playboys
5. "Hold What You've Got," Joe Tex
6. "Love Potion Number Nine," The Searchers
7. "All Day and All of the Night," The Kinks
8. "My Girl," The Temptations
9. "How Sweet It Is (To Be Loved by You)," Marvin Gaye
10. "Shake," Sam Cooke
11. "Let's Lock the Door (and Throw Away the Key)," Jay & The Americans
12. "Come See About Me," The Supremes
13. "Keep Searchin' (We'll Follow the Sun)," Del Shannon
14. "The Jolly Green Giant," The Kingsmen
15. "Bye Bye Baby (Baby, Goodbye)," The Four Seasons
16. "I Go to Pieces," Peter & Gordon
17. "The 'In' Crowd," Dobie Gray
18. "Give Him a Great Big Kiss," The Shangri-Las
19. "Tell Her No," The Zombies
20. "Twine Time," Alvin Cash & The Crawlers
21. "I'll Be There," Gerry & The Pacemakers
22. "I Feel Fine," The Beatles
23. "Heart of Stone," The Rolling Stones

25. "Laugh, Laugh," The Beau Brummels

28. "Look of Love," Lesley Gore
29. "The Boy from New York City," The Ad Libs

31. "Goin' Out of My Head," Little Anthony & The Imperials

33. "The Jerk," The Larks

36. "Lemon Tree," Trini Lopez

40. "The Birds and the Bees," Jewel Akens

42. "For Lovin' Me," Peter, Paul & Mary
43. "Willow Weep for Me," Chad & Jeremy

46. "A Change Is Gonna Come," Sam Cooke

57. "What Have They Done to the Rain," The Searchers
58. "Little Things," Bobby Goldsboro
59. "Can't You Hear My Heartbeat," Herman's Hermits

61. "Ferry Cross the Mersey," Gerry & The Pacemakers

63. "Hurt So Bad," Little Anthony & The Imperials

75. "Ask the Lonely," Four Tops
76. "Midnight Special," Johnny Rivers
77. "Come Home," The Dave Clark Five


80. "That's How Strong My Love Is," Otis Redding

85. "Goldfinger," Shirley Bassey

89. "Don't Let Me Be Misunderstood," The Animals


Leaving the chart:
  • "Amen," The Impressions (11 weeks)
  • "Any Way You Want It," The Dave Clark Five (12 weeks)
  • "Sha La La," Manfred Mann (12 weeks)
  • "She's a Woman," The Beatles (9 weeks)

New on the chart:

"Midnight Special," Johnny Rivers
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(#20 US)

"Don't Let Me Be Misunderstood," The Animals
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(#15 US; #3 UK; #315 on Rolling Stone's 500 Greatest Songs of All Time)

"Come Home," The Dave Clark Five
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(#14 US; #16 UK)

"Hurt So Bad," Little Anthony & The Imperials
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(#10 US; #3 R&B)

"Ferry Cross the Mersey," Gerry & The Pacemakers
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(#6 US; #8 UK)


And new on the boob tube:
  • Branded, "The Vindicator"
  • 12 O'Clock High, "To Heinie, with Love"
  • Gilligan's Island, "Gilligan Meets Jungle Boy"
 
Ferry Cross the Mersey," Gerry & The Pacemakers
One of the prettiest and best songs to come out of the first wave of the British Invasion. I understand that the song has become somewhat of an anthem for the city of Liverpool. Nice anthem.
“Jamal David!” I remember this show. I think it may have been the first, or one of th first, westerns to feature a black actor in a lead role.
 
50 Years Ago This Week

Wiki said:
February 1 – The Benavidez rail disaster near Buenos Aires, Argentina kills 236.
Mark Lewisohn's The Beatles Day by Day said:
February 4 – John and Yoko swap their shorn hair, saved and brought home from Denmark, for a pair of bloodied Muhammad Ali boxing shorts in a ceremony with Michael X, on the roof of X's notorious 'Black House' in north London. John and Yoko intend auctioning the boxing trunks to raise money for peace.
February 6 – First UK release of the John Lennon with the Plastic Ono Band single 'Instant Karma!'



Selections from Billboard's Hot 100 for the week:
1. "Venus," Shocking Blue
2. "I Want You Back," The Jackson 5
3. "Raindrops Keep Fallin' on My Head," B.J. Thomas
4. "Thank You (Falettinme Be Mice Elf Agin)," Sly & The Family Stone
5. "Without Love (There Is Nothing)," Tom Jones
6. "I'll Never Fall in Love Again," Dionne Warwick
7. "Hey There Lonely Girl," Eddie Holman
8. "Whole Lotta Love," Led Zeppelin
9. "No Time," The Guess Who
10. "Jingle Jangle," The Archies
11. "Psychedelic Shack," The Temptations
12. "Leaving on a Jet Plane," Peter, Paul & Mary
13. "Arizona," Mark Lindsay
14. "Don't Cry Daddy" / "Rubberneckin'", Elvis Presley
15. "Someday We'll Be Together," Diana Ross & The Supremes
16. "Walk a Mile in My Shoes," Joe South & The Believers
17. "Jam Up and Jelly Tight," Tommy Roe
18. "Travelin' Band" / "Who'll Stop the Rain", Creedence Clearwater Revival
19. "Walkin' in the Rain," Jay & The Americans
20. "Early in the Morning," Vanity Fare
21. "Blowing Away," The 5th Dimension
22. "Winter World of Love," Engelbert Humperdinck
23. "Midnight Cowboy," Ferrante & Teicher
24. "Baby Take Me in Your Arms," Jefferson
25. "Honey Come Back," Glen Campbell
26. "Rainy Night in Georgia" / "Rubberneckin'", Brook Benton
27. "The Thrill Is Gone," B.B. King
28. "Didn't I (Blow Your Mind This Time)," The Delfonics
29. "Wonderful World, Beautiful People," Jimmy Cliff
30. "She Came in Through the Bathroom Window," Joe Cocker

33. "Ma Belle Amie," The Tee Set
34. "Oh Me Oh My (I'm a Fool for You Baby)," Lulu
35. "He Ain't Heavy, He's My Brother," The Hollies
36. "One Tin Soldier," The Original Caste
37. "Give Me Just a Little More Time," Chairmen of the Board

40. "Evil Ways," Santana

46. "Always Something There to Remind Me," R.B. Greaves

49. "Bridge over Troubled Water," Simon & Garfunkel
50. "The Rapper," The Jaggerz

62. "Do the Funky Chicken," Rufus Thomas

66. "Look-Ka Py Py," The Meters
67. "Never Had a Dream Come True," Stevie Wonder

73. "House of the Rising Sun," Frijid Pink

75. "Easy Come, Easy Go," Bobby Sherman

77. "Oh Well, Pt. 1," Fleetwood Mac

82. ""Shilo," Neil Diamond

84. "Superstar," Murray Head w/ The Trinidad Singers

89. "Come Saturday Morning," The Sandpipers

92. "Come and Get It," Badfinger

98. "The Bells," The Originals
99. "Call Me" / "Son of a Preacher Man", Aretha Franklin


Leaving the chart:
  • "Ain't It Funky Now (Part 1)," James Brown (11 weeks)
  • "Cold Turkey," Plastic Ono Band (12 weeks)
  • "Come Together" / "Something", The Beatles (16 weeks)
  • "Down on the Corner" / "Fortunate Son", Creedence Clearwater Revival (15 weeks)
  • "Evil Woman, Don't Play Your Games with Me," Crow (15 weeks)
  • "Holly Holy," Neil Diamond (14 weeks)
  • "La La La (If I Had You)," Bobby Sherman (11 weeks)
  • "Na Na Hey Hey Kiss Him Goodbye," Steam (16 weeks)
  • "She," Tommy James & the Shondells (8 weeks)
  • "Up on Cripple Creek," The Band (14 weeks)

New on the chart:

"Do the Funky Chicken," Rufus Thomas
(#28 US; #5 R&B; #18 UK)

"Never Had a Dream Come True," Stevie Wonder
(#26 US; #31 AC; #11 R&B; #6 UK)

"Shilo," Neil Diamond
(#24 US; #8 AC)

"Call Me," Aretha Franklin
(#13 US as double A-side w/ "Son of a Preacher Man"; #1 R&B)

"Son of a Preacher Man," Aretha Franklin
(#13 US as double A-side w/ "Call Me")

"The Bells," The Originals
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(#12 US; #4 R&B)

"Easy Come, Easy Go," Bobby Sherman
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(#9 US; #2 AC)

"Come and Get It," Badfinger
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(#7 US; #4 UK; written by Paul McCartney)

"House of the Rising Sun," Frijid Pink
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(#7 US; #4 UK)

"Bridge over Troubled Water," Simon & Garfunkel
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(#1 US the weeks of Feb. 28 through Apr. 4, 1970; #1 AC; #1 UK; #1 song on Billboard's 1970 Year-End Chart of Pop Singles; 1971 Grammy Award for Record of the Year; #47 on Rolling Stone's 500 Greatest Songs of All Time)


And new on the boob tube:
  • The Ed Sullivan Show, Season 22, episode 19, featuring Jackie DeShannon and Gwen Verdon
  • Mission: Impossible, "Gitano"
  • Rowan & Martin's Laugh-In, Season 3, episode 20
  • That Girl, "Ugh, Wilderness"
  • Ironside, "The Wrong Time, the Wrong Place"
  • Get Smart, "Witness for the Execution"
  • The Brady Bunch, "The Big Sprain"
  • Adam-12, "Log 54: Impersonation"

_______

A great song, whoever does it.
I could definitely come up with some less whitebread versions.

Also a goodie.
Ah, now this definitely sounds like 1965!

I don't think I've ever heard this. It's okay.
I have this, but it's still completely obscure to me.

To put it mildly.

I love this song. I love it for the title alone. :lol:
One of the prettiest and best songs to come out of the first wave of the British Invasion. I understand that the song has become somewhat of an anthem for the city of Liverpool. Nice anthem.
It's alright. Good British Invasion vibe.
 
Chuck Connors...? :confused:
Chuck Connors was black? :eek: :)
Bridge over Troubled Water," Simon & Garfunkel
I was a pretty big fan of Simon and Garfunkel back in the day, Paul Simon’s songs in particular. He’s also one my all time fav guitarists. His finger picking style was next level.

Saw them live at one of their reunion shows at Dodger Stadium back in the 80’s. Art Garfunkel sang the shit out of “Bridge.” I didn’t know he had it like that, vocally, He really brought the house down.
 
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