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The Classic/Retro Pop Culture Thread

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50th Anniversary Catch-Up Viewing

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The plan for this hiatus season is to "catch-up" on the 1968-69 and 1969-70 seasons of Dragnet and Hawaii Five-O...thus finishing the former and catching up the latter to the point where it can become regularly scheduled 50th anniversary viewing. But first I have a few odds and ends from the 1967-68 season of Dragnet, starting with two episodes from early that season that got preempted by my Cozi affiliate for last year's St. Patrick's Day parade...

Dragnet 1968
"The Bank Jobs"
Originally aired October 5, 1967
Xfinity said:
A bank robber forces women to help him while he holds bank employees at gunpoint.

Sgt. Joe Friday said:
This is the city: Los Angeles, California. This part of it has been here a long time, several thousand years. This is Hancock Park, the Tar Pits, where more than one prehistoric skeleton has been unearthed. This sign, spelling out a world-famous name [Hollywood], was put up on the side of a mountain over fifty years ago. The sign, like the mountains, hasn't changed through the years. Some of the buildings are still standing: the old Hall of Records. But they're beginning to change...the new Hall of Records. Los Angeles is really a young city. This is where it all began, when it was a Mexican pueblo. They call this the Plaza. Today, this is a plaza. It's a mall, a shopping center. In Los Angeles, you don't have to go downtown. Everything's right here: stores, markets, restaurants, banks. These plazas are all over the city. And they all need protection. That's part of my job. I carry a badge.

Tuesday, August 4 (last occurred in 1964): Friday and Gannon are working the day watch out of Robbery Division, Bank Detail, when they get a call about an early morning bank robbery involving a man and a woman. Kent McCord, listed as Officer Whitman, fills them in outside the bank. The detectives drive a witness, Dr. Lang (Herbert Anderson), around the area, and he spots the getaway car in a carport where it was ditched. They trace the registration to a Jana Altman (Kipp Hamilton), who matches the description of one of the robbers. She claims to have reported the car as stolen, but the detectives' suspicions are stoked when they find paperwork lying around indicating that she's a parolee.

They take her downtown and question her with a policewoman present. She tells of how she was carjacked (before that was a word) by a man with a gun and forced to hold up the bank with her. He dropped her off afterward and took the car. She also reluctantly confesses to having a record for embezzlement in Oklahoma City. They suspect that her partner may be the gambler ex-husband for whom she was stealing, so they tail her for the next couple of days. Then they hear a radio call about another bank robbery involving a man and a woman, the latter of whom was found and said she was forced to do it.

They talk to this woman, Angela Riplon (Marian Collier), at a bar. She describes how the man got into her car at a stoplight. Now having a pattern to go on, Bank Detail engages in a rolling stakeout of banks of the same branch. The next robbery by the "hostage bandit" occurs on August 14, following which they let Altman off the hook and give her a brief infodump of L.A. bank robbery statistics. The rolling stakeouts continue until August 21, when they get a call about the next robbery. When they arrive, they find a woman beating up a man on the street in front of a crowd of onlookers. It turns out that she's the latest victim, but is also a karate instructor. They take the defeated bandit (Chris Alcaide) into custody.

The Announcer said:
On October 20, trial was held in Courtroom 54, United States District Court, Central Division of the Southern District of California....The suspect was found guilty on four counts of bank robbery. Bank robbery is a federal offense which is punishable by imprisonment for not more than twenty-five years on each count.
The mugshot said:
RICHARD MADDEN
Now serving his sentence in the federal penitentiary, McNeil Island, Washington.
These recordings aren't recent enough in my buffer to get the screenshots via the Xfinity app.

Art Gilmore makes one of several appearances as one of several superior officers, Captain Howe. Also, there's an officer named Sgt. Reed in this episode, but it's not McCord's character.

_______

Dragnet 1968
"The Big Neighbor"
Originally aired October 12, 1967
Xfinity said:
Friday and Gannon find it difficult to enjoy a football game on TV due to Gannon's neighbors.

Sgt. Joe Friday said:
This is the city: Los Angeles, California. If you live here, you've got a lot of neighbors, and all three million of 'em have something in common with you: they've all got troubles. Everybody wants to share their problems. A lot of people bring 'em here [church]...so can you. If you don't like the answer, remember, it was free. For a five cent stamp, this lady will give advice [Dear Abby]. For a dime, you can tell your troubles to a friend [pay phone]. Or you can bring your problems to people like me. I carry a badge.

Friday, December 14 (last occurred in 1962): Friday and Gannon, working the day watch out of Frauds Division, Bunco Section, are about to call it a day when a sailor comes in who was swindled by means of a fake party into letting somebody take his money, ostensibly down to the hotel safe. He confesses that it's not the first time he's fallen for this sort of trick. Gannon invites Friday over for dinner, but Friday insists that Gannon call his wife, Eileen, first. The boys won't be home, so Gannon's looking forward to a night of peace and quiet.

Arriving at the Gannon home, Friday can't stop being a stick in the mud, pointing out that Gannon parked across his own driveway. Bill pesters Joe about various changes he's made to the house since the last time Friday visited, which Joe doesn't notice. At the table, Eileen (Randy Stuart) informs Bill and Joe that that a neighbor, Art Bonham, is planning to come over, because he has something he wants to talk to a policeman about, and would rather talk to Bill's superior.

Bill and Joe are just sitting down to enjoy the game when the phone rings and Eileen informs Bill that a different neighbor, Marnie Prout, is about to come over. Marnie (Ann Morgan Guilbert) wants to talk to Bill, but wants Friday to hear what she has to say as well...which is that wants her husband to be arrested for throwing an egg timer at her. Joe informs her that she's got nothing to go on because he missed, and before she leaves, Bill advises that if she wants to press charges, next time she should let him hit her.

Bill and Joe resume the game, having missed some important plays, when the doorbell rings. It's Art Bonham (John Nolan), who's there on behalf of the neighborhood about a series of citations that the residents have received for how they park their cars. Bill tries to cut things short by advising him to just pay his fine. Afterward, Bill describes to Joe how those neighbors who aren't friends are really strangers, but they all come to him because he's a cop, and if he doesn't listen to them, he'd be considered a bad neighbor.

After a customary bit of Bill badgering Joe about getting married, they turn the sound back up just in time for the phone to ring. It's yet another neighbor, Ruth Walker, who says that somebody's trying to break into her house. Friday calls for a black and white, after which the detectives put on their jackets and proceed across the street, where they find a man working on one of the windows. They take him down quickly, and the uniformed officers promptly pop up...the one with lines being Kent McCord again! Ruth (Rhoda Williams) comes out to opine that they should advertise that a police officer lives in the neighborhood.

Having missed most of the game, Friday and Gannon now have to go back downtown to book the burglar. As they get to Bill's car, they find a citation on the windshield. Bill objects, but Joe advises him to just pay the fine.

The Announcer said:
On January 20th, trial was held in Department 184, Superior Court of the State of California, for the County of Los Angeles....The suspect, who was wanted in connection with several other burglaries, was found guilty on four counts of burglary in the first degree. Burglary in the first degree is punishable by imprisonment in the state prison for not less than five years.
The mugshot said:
FRANK WILSON
Now serving his sentence in the state prison, San Quentin, California.

This one's a memorably offbeat episode.

_______
 
Last edited:
They take her downtown and question her with a policewoman present. She tells of how she was carjacked (before that was a word) by a man with a gun and forced to hold up the bank with her. He dropped her off afterward and took the car.
So she reported the stolen car, but not the kidnapping and robbery.

Now having a pattern to go on, Bank Detail engages in a rolling stakeout of banks of the same branch.
A predictable pattern that involves close-up eyewitnesses and lots of opportunity for leaving forensic evidence. There are better ways to meet women.

When they arrive, they find a woman beating up a man on the street in front of a crowd of onlookers. It turns out that she's the latest victim, but is also a karate instructor.
This guy was not cut out for a life of crime.

Arriving at the Gannon home, Friday can't stop being a stick in the mud, pointing out that Gannon parked across his own driveway.
Can't a man do what he wants with his own driveway anymore?!

Bill pesters Joe about various changes he's made to the house since the last time Friday visited, which Joe doesn't notice.
What happened to that detective's eye for detail? :rommie:

At the table, Eileen (Randy Stuart) informs Bill and Joe that that a neighbor, Art Bonham, is planning to come over, because he has something he wants to talk to a policeman about, and would rather talk to Bill's superior.
Is Friday Gannon's superior? I thought they were partners. Gannon is just a henchman?!

Joe informs her that she's got nothing to go on because he missed, and before she leaves, Bill advises that if she wants to press charges, next time she should let him hit her.
What the hell? :rommie:

Afterward, Bill describes to Joe how those neighbors who aren't friends are really strangers, but they all come to him because he's a cop, and if he doesn't listen to them, he'd be considered a bad neighbor.
So he advises them all to submit to spousal abuse, in the hopes that they'll all die and leave him alone.

After a customary bit of Bill badgering Joe about getting married
And moving to the suburbs, where he, too, can be pestered by neighbors.

It's yet another neighbor, Ruth Walker, who says that somebody's trying to break into her house.
Now we're getting somewhere.

Friday calls for a black and white, after which the detectives put on their jackets and proceed across the street, where they find a man working on one of the windows.
He comments on how presentable they are.

As they get to Bill's car, they find a citation on the windshield. Bill objects, but Joe advises him to just pay the fine.
I'm not entirely convinced that humor is Dragnet's forte. :rommie:

This one's a memorably offbeat episode.
It's like an alternate universe sit-com version of the show. Friday Knows Best. Leave It To Friday. The Many Loves of Joe Friday. Pete & Gladys Get Reincarnated As Cops.

Kent McCord, listed as Officer Whitman
...the one with lines being Kent McCord again!
This guy is like the Jango Fett of the LAPD. :rommie:
 
55 Years Ago This Week

Wiki said:
April 5 – At the 37th Academy Awards, My Fair Lady wins 8 Academy Awards, including Best Picture and Best Director. Rex Harrison wins an Oscar for Best Actor. Mary Poppins takes home 5 Oscars. Julie Andrews wins an Academy Award for Best Actress for her performance in the title role. Sherman Brothers receives 2 Oscars including Best Song, "Chim Chim Cher-ee".
April 6
  • The Intelsat I ("Early Bird") communications satellite is launched. It becomes operational May 2 and is placed in commercial service in June.
  • The British Government announces the cancellation of the TSR-2 aircraft project.
Mark Lewisohn's The Beatles Day by Day said:
April 9 – First UK release of the 'Ticket to Ride' single.
Wiki said:
April 9
  • The West German parliament extends the statute of limitations on Nazi war crimes.
  • In Houston, the Harris County Domed Stadium (more commonly known as the Astrodome) opens.
  • Charlie Brown and the Peanuts Gang appear on the cover of Time.



Selections from Billboard's Hot 100 for the week:
1. "I'm Telling You Now," Freddie & The Dreamers
2. "Stop! In the Name of Love," The Supremes
3. "Can't You Hear My Heartbeat," Herman's Hermits
4. "Shotgun," Jr. Walker & The All Stars
5. "The Birds and the Bees," Jewel Akens

7. "Game of Love," Wayne Fontana & The Mindbenders
8. "Nowhere to Run," Martha & The Vandellas
9. "I Know a Place," Petula Clark

11. "Eight Days a Week," The Beatles
12. "Do You Wanna Dance?," The Beach Boys
13. "Tired of Waiting for You," The Kinks
14. "Goldfinger," Shirley Bassey
15. "Go Now!," The Moody Blues

18. "Ferry Cross the Mersey," Gerry & The Pacemakers
19. "The Clapping Song (Clap Pat Clap Slap)," Shirley Ellis

21. "Do the Clam," Elvis Presley

23. "If I Loved You," Chad & Jeremy

25. "I'll Be Doggone," Marvin Gaye
26. "Don't Let Me Be Misunderstood," The Animals
27. "Come and Stay with Me," Marianne Faithfull
28. "Bumble Bee," The Searchers
29. "My Girl," The Temptations
30. "When I'm Gone," Brenda Holloway
31. "The Last Time," The Rolling Stones
32. "Got to Get You off My Mind," Solomon Burke
33. "Little Things," Bobby Goldsboro

37. "I'll Never Find Another You," The Seekers

42. "Ooo Baby Baby," Smokey Robinson & The Miracles

44. "Silhouettes," Herman's Hermits
45. "Land of 1000 Dances," Cannibal & The Headhunters

48. "It's Growing," The Temptations

50. "She's About a Mover," Sir Douglas Quintet
51. "Baby the Rain Must Fall," Glenn Yarbrough

56. "Just Once in My Life," The Righteous Brothers
57. "We're Gonna Make It," Little Milton

62. "Count Me In," Gary Lewis & The Playboys
63. "It's Gonna Be Alright," Gerry & The Pacemakers
64. "Woman's Got Soul," The Impressions

71. "I Do Love You," Billy Stewart

74. "Subterranean Homesick Blues," Bob Dylan

81. "Iko Iko," The Dixie Cups
82. "Wooly Bully," Sam the Sham & The Pharoahs

90. "It's Not Unusual," Tom Jones


Leaving the chart:
  • "Come Home," The Dave Clark Five (9 weeks)
  • "Hurt So Bad," Little Anthony & The Imperials (9 weeks)
  • "I Can't Explain," The Who (2 weeks)
  • "People Get Ready," The Impressions (8 weeks)
  • "Stranger in Town," Del Shannon (6 weeks)
  • "This Diamond Ring," Gary Lewis & The Playboys (12 weeks)
  • "Yeh, Yeh," Georgie Fame & The Blue Flames (8 weeks)

Recent and new on the chart:

"We're Gonna Make It," Little Milton
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(Mar. 27; #25 US; #1 R&B)

"Iko Iko," The Dixie Cups
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(Apr. 3; #20 US; #20 R&B; #23 UK)

"It's Growing," The Temptations
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(Apr. 3; #18 US; #3 R&B; #45 UK)

"It's Not Unusual," Tom Jones
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(#10 US; #3 AC; #26 R&B; #1 UK)

"Just Once in My Life," The Righteous Brothers
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(#9 US; #26 R&B)


And new on the boob tube:
  • Branded, "The First Kill"
  • 12 O'Clock High, "The Cry of Fallen Birds"
  • Gilligan's Island, "They're Off and Running"

_______

So she reported the stolen car, but not the kidnapping and robbery.
She was hiding the truth because she was a parolee who'd just robbed a bank.

Is Friday Gannon's superior? I thought they were partners. Gannon is just a henchman?!
Senior partner. Bill is Officer Gannon; Joe is Sgt. Friday.

What the hell? :rommie:
Joe explains how just firing a gun at somebody is a felony, but throwing an egg timer isn't.

And moving to the suburbs, where he, too, can be pestered by neighbors.
More or less.

I'm not entirely convinced that humor is Dragnet's forte. :rommie:
It's like an alternate universe sit-com version of the show. Friday Knows Best. Leave It To Friday. The Many Loves of Joe Friday. Pete & Gladys Get Reincarnated As Cops.
I guess you'd have to see it. It's perfectly in line with the usual lighthearted, bantery moments between Friday and Gannon, just an entire episode of that.

This guy is like the Jango Fett of the LAPD. :rommie:
I thought Star Wars wasn't your bag.
 
"We're Gonna Make It," Little Milton
I'm pretty sure I've never heard this. Not bad.

"Iko Iko," The Dixie Cups
I like this song. I'm not sure if I've heard this version. I think I know it mainly from the first Cindy Lauper album.

"It's Growing," The Temptations
Not their best, but maybe it will grow on me.

"It's Not Unusual," Tom Jones
It's not good, but it's not bad, which, for Tom Jones, is not unusual.

"Just Once in My Life," The Righteous Brothers
Righteous!

She was hiding the truth because she was a parolee who'd just robbed a bank.
Yeah, but she just made herself look guilty. She kinda musta knew that witnesses would report a woman of her description being involved.

Senior partner. Bill is Officer Gannon; Joe is Sgt. Friday.
Interesting. I guess I knew that, but I always thought of them as equals.

Joe explains how just firing a gun at somebody is a felony, but throwing an egg timer isn't.
That's pretty hard boiled.

I guess you'd have to see it. It's perfectly in line with the usual lighthearted, bantery moments between Friday and Gannon, just an entire episode of that.
It's fun to see them kick back and joke around-- but just wait till Gannon finds out it was Friday who wrote the ticket. :rommie:

I thought Star Wars wasn't your bag.
I know stuff! :rommie: Although I did have to Google his actual name. But I've seen, uh, most of the movies.
 
50 Years Ago This Week

BeatlesBreakup.jpg

Wiki said:
April 6 – BBC Radio 4 broadcasts the first edition of PM.
April 8
  • A huge gas explosion at a subway construction site in Osaka, Japan kills 79 and injures over 400.
  • Israeli Air Force F-4 Phantom II fighter bombers kill 47 Egyptian school children at an elementary school in what is known as Bahr el-Baqar massacre. The single-floor school is hit by five bombs and two air-to-ground missiles.
April 10 – In a press release written in mock-interview style, that is included in promotional copies of his first solo album, Paul McCartney announces that he has left The Beatles.
https://www.beatlesbible.com/1970/04/10/paul-mccartney-announces-the-beatles-split/
April 11
  • An avalanche at a tuberculosis sanatorium in the French Alps kills 74, mostly young boys.
  • Apollo program: Apollo 13 (Jim Lovell, Fred Haise, Jack Swigert) is launched toward the Moon.
Houston, we've got a problem...next week.



Selections from Billboard's Hot 100 for the week:
1. "Let It Be," The Beatles
2. "ABC," The Jackson 5
3. "Instant Karma (We All Shine On)," John Ono Lennon
4. "Spirit in the Sky," Norman Greenbaum
5. "Bridge over Troubled Water," Simon & Garfunkel
6. "Love Grows (Where My Rosemary Goes)," Edison Lighthouse
7. "House of the Rising Sun," Frijid Pink
8. "Come and Get It," Badfinger
9. "Easy Come, Easy Go," Bobby Sherman
10. "The Rapper," The Jaggerz
11. "Up the Ladder to the Roof," The Supremes
12. "The Bells," The Originals
13. "Call Me" / "Son of a Preacher Man", Aretha Franklin
14. "Love or Let Me Be Lonely," The Friends of Distinction
15. "American Woman" / "No Sugar Tonight", The Guess Who
16. "Rainy Night in Georgia" / "Rubberneckin'", Brook Benton
17. "Give Me Just a Little More Time," Chairmen of the Board
18. "Evil Ways," Santana
19. "He Ain't Heavy, He's My Brother," The Hollies
20. "Celebrate," Three Dog Night
21. "Something's Burning," Kenny Rogers & The First Edition
22. "Turn Back the Hands of Time," Tyrone Davis
23. "Gotta Hold On to This Feeling," Jr. Walker & The All-Stars
24. "You're the One, Part 2," Little Sister
25. "Shilo," Neil Diamond
26. "Long Lonesome Highway," Michael Parks

28. "Didn't I (Blow Your Mind This Time)," The Delfonics
29. "Ma Belle Amie," The Tee Set
30. "Reflections of My Life," The Marmalade
31. "Kentucky Rain," Elvis Presley
32. "All I Have to Do Is Dream," Bobbie Gentry & Glen Campbell
33. "Woodstock," Crosby, Stills, Nash & Young
34. "You Need Love Like I Do (Don't You)," Gladys Knight & The Pips
35. "Get Ready," Rare Earth
36. "Do the Funky Chicken," Rufus Thomas
37. "Everybody's Out of Town," B. J. Thomas
38. "Vehicle," The Ides of March
39. "For the Love of Him," Bobbi Martin
40. "Little Green Bag," George Baker Selection

52. "Everything Is Beautiful," Ray Stevens

56. "Love on a Two-Way Street," The Moments
57. "Make Me Smile," Chicago

59. "Come Running," Van Morrison

64. "Love Land," Charles Wright & The Watts 103rd Street Rhythm Band
65. "Living Loving Maid (She's Just a Woman)," Led Zeppelin
66. "What Is Truth," Johnny Cash

68. "Cecilia," Simon & Garfunkel


73. "Which Way You Goin' Billy?," The Poppy Family (feat. Susan Jacks)

83. "Hitchin' a Ride," Vanity Fare

88. "Come Saturday Morning," The Sandpipers

97. "You Make Me Real" / "Roadhouse Blues", The Doors


Leaving the chart:
  • "Add Some Music to Your Day," The Beach Boys (5 weeks)
  • "Oh Well, Pt. 1," Fleetwood Mac (10 weeks)
  • "Rag Mama Rag," The Band (8 weeks)
  • "Travelin' Band" / "Who'll Stop the Rain", Creedence Clearwater Revival (10 weeks)

Re-entering the chart:
  • "Come Saturday Morning," The Sandpipers

Recent and new on the chart:

"Long Lonesome Highway," Michael Parks
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(Feb. 28; #20 US; #5 AC; #41 Country)

"You Make Me Real" / "Roadhouse Blues", The Doors
(#50 US)

"What Is Truth," Johnny Cash
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(#19 US; #4 AC; #3 Country; #21 UK)

"Love Land," Charles Wright & The Watts 103rd Street Rhythm Band
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(#16 US; #23 R&B)

"Cecilia," Simon & Garfunkel
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(#4 US; #31 AC; #51 UK)

"Love on a Two-Way Street," The Moments
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(#3 US; #1 R&B)


And new on the boob tube:
  • The Ed Sullivan Show, Season 22, episode 27, featuring The Temptations, The Canestrellis, Marilyn Maye & The Buddy Rich Orchestra, and John Byner
  • Ironside, "Tom Dayton Is Loose Among Us" (season finale)
  • Adam-12, "Log 144: Bank Robbery"

_______

I'm pretty sure I've never heard this. Not bad.
It's grown on me a bit. Pretty upbeat and optimistic as the blues goes.

I like this song. I'm not sure if I've heard this version. I think I know it mainly from the first Cindy Lauper album.
I didn't know she'd done it.

Not their best, but maybe it will grow on me.
Kinda meh Temptations.

It's not good, but it's not bad, which, for Tom Jones, is not unusual.
This is one of that small handful of Tom Jones classics that's the reason I even have Tom Jones singles in my collection.

Righteous!
Not bad, but relatively speaking, one of their "in-between" singles.

Yeah, but she just made herself look guilty. She kinda musta knew that witnesses would report a woman of her description being involved.
So...she did something irrational in a stressful situation...?

That's pretty hard boiled.
That's one of those second-lookers... :vulcan:

It's fun to see them kick back and joke around-- but just wait till Gannon finds out it was Friday who wrote the ticket. :rommie:
I think it was Kent McCord...

But I've seen, uh, most of the movies.
:shifty:
 
1. "I'm Telling You Now," Freddie & The Dreamers
Number one? Really? We had a lot to answer for, for some of our choices back then. :lol:
We're Gonna Make It," Little Milton
Can’t recall if I’v ever heard this song, but I do like it. I know Little Milton had other hits though, including the unforgettable Grits Ain’t Groceries (eggs ain’t poultry, and Mona Lisa was a man).:)
Iko Iko," The Dixie Cups
My family was from New Orleans, so I heard this song growing up in recorded versions and chants by my sister and her friends. This song is rather violent. It”s about a confrontation between Mardi Gras Indian gangs. There’s a bunch of songs like this in New Orleans culture.
It's Not Unusual," Tom Jones
One of the great male voices of the rock era.
Just Once in My Life," The Righteous Brothers
Hard for these two to mess up a song and when you throw a Phil Spector production on top of it, pure gold.
Long Lonesome Highway," Michael Parks
This guy was an actor, right? He has a pretty good voice, though can’t say much for the song.
Love Land," Charles Wright & The Watts 103rd Street Rhythm Band
Another band from my childhood. I used to see these guys singing at neighborhood festivals. Love Land is a great song. Why don’t we hear r&b male voices like these anymore? These days, you got to song like Drake or The Weeknd to have a hit.
Love on a Two-Way Street," The Moments
Another of those great r&b falsettos.
Cecilia," Simon & Garfunkel
Loved pretty much all these guys did back in the day.
 
"Long Lonesome Highway," Michael Parks
This is pleasant.

"Roadhouse Blues" has that comfortable familiarity to it.

"What Is Truth," Johnny Cash
Groovy. Johnny is hip to the scene. :bolian:

"Love Land," Charles Wright & The Watts 103rd Street Rhythm Band
Just kind of a song.

"Cecilia," Simon & Garfunkel
S&G. 'nuff said.

"Love on a Two-Way Street," The Moments
Classic Oldie.

I didn't know she'd done it.
It's great, of course, but it's on True Colors, not She's So Unusual.

Not bad, but relatively speaking, one of their "in-between" singles.
It's got that Righteous sound, but I did find myself segueing into "Loving Feeling" as I hummed it later.

So...she did something irrational in a stressful situation...?
I know, right. What's up with that?

That's one of those second-lookers... :vulcan:
:rommie:

I think it was Kent McCord...
One of him....

I'm either two behind or four behind, depending on if you count the spinoffs.
 
_______

55th Anniversary Viewing

_______

The Ed Sullivan Show
Season 17, episode 26
Originally aired March 28, 1965
As represented in The Best of the Ed Sullivan Show

Ed said:
Little Anthony and the Imperials singing "Hurt So Bad," so let's hear it...!
This one was just about to fall off the chart, so I'm not sure how much good the appearance was doing them in the day, but we got a good visual performance out of it (if a low-quality YouTube video):
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Ed said:
And now, Jackie Vernon's comedy!
Jackie's routine begins with self-deprecating tales of adoption and very odd jobs, and transitions into him giving bad advice about picking up girls at the beach.

Ed said:
And now, ladies and gentlemen, singing "Long Lonely Nights," Bobby Vinton!
This song (charted Mar. 6, 1965; #17 US; #5 AC) is typical of why I don't have any Bobby Vinton in my collection, and...sounds like the '50s. I don't say that as lightly as some. :p There are two videos of this performance available on YouTube, but they're both of such crappy quality that I won't even post them. Here's the studio version:
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tv.com tells us that he also performed a medley of vintage songs that included "Melancholy Baby" and "Margie".

Ed said:
And now from Paris, Les Marcellis!
This duo's routine mixes acrobatics and physical comedy, using a high table and a couple of chairs as props. When they go over to Ed afterward, he asks one of them to lift him up...which he does!

Ed said:
And now, Elizabeth Allen and Sergio Franchi <mumbles> "Take The Moment".
tv.com identifies this as a number from the Richard Rodgers musical Do I Hear a Waltz?, of which they were co-stars; and says that they also performed the show's title number. This sort of thing isn't really in my wheelhouse, but Franchi sure had a set of pipes.

Also in the original episode according to tv.com:
Music:
--Marilyn Michaels sings "All Or Nothing At All."
--Sergio Franchi - "Stella By Starlight."
Broadway:
Comedy:
--Bob King - does a stand-up routine about teen-age music, pop idols, and radio D.J's.
--George Carl - pantomime routine includes magic act with woman assistant, a soft shoe dance, and bumbling acrobatics.
Also appearing:
--Gary Player (pro-golfer) - talks with Ed about golf.

_______

Branded
"The Mission" (part three)
Originally aired March 28, 1965
Xfinity said:
McCord's mission almost ends in death when the commanding officer recognizes him.

This time the opening credits cut out the first chorus. And we have a brief narrated recap.

The raid commences with Jason leading those bandits who are pretending to be ambushed cavalry officers. One of the soldiers at the fort recognizes McCord and reports it to the acting commanding officer, Major Whitcomb (Wendell Corey). Jason has just pulled his gun on the bandits trying to open the safe when the major and his men come in. Jason tries to explain his mission, but nobody believes him about his secret assignment from the president...the major having special reason to be skeptical, as his son was killed at Bitter Creek. The major orders Jason to be shot at dawn.

Jason escapes his cell at feeding time by knocking out a cook and a guard (the latter with an anachronistic TV Fu Knockout Chop). Crispo tries to alert the guards, but Brissac stops him. Nevertheless, Jason is caught trying to exit the gate. One of the soldiers, Private Tyler (Steven Marlo), is eager to be on the firing squad, and manages it with the help of a fellow soldier who passes Tyler his drawn lot. Tyler's superior, Corporal Dewey (Patrick Wayne), is less eager to have Jason's blood on his hands.

The next morning, facing the firing squad, Jason ask for one last request, and we cut away to the cell, where Crispo eagerly awaits the sound of Jason's execution. He hears it, after which the major comes in and Crispo is eager to taunt him with the knowledge that Jason was indeed infiltrating the bandits. With that confirmation, Whitcomb calls Jason in, convinced of his innocence. As Jason is leaving the fort, the major tells him that he's ready to put Bitter Creek behind him and hands him his saber; and Dewey and Tyler salute Jason with respect as he passes through the gate.

_______

12 O'Clock High
"The Mission"
Originally aired April 2, 1965
Xfinity said:
A crippled plane, a jammed bomb and antagonism toward an uncertain crewman jeopardize a mission to bomb enemy supply lines.

https://www.trekbbs.com/threads/the-classic-retro-pop-culture-thread.278375/page-70#post-12249206
It seems like I've seen this a time or two before...a character who's thought to be a jinx because he's the survivor of a bad mission, who proves himself in Act IV and, in this case, gets his promotion to Lieutenant. Nothing much to bite into here. I guess I should have expected as much from an episode that bore the most generic title they could have possibly come up with.
The title seemed a little less generic, at least, for Branded.

_______

Gilligan's Island
"New Neighbor Sam"
Originally aired April 3, 1965
Wiki said:
The castaways are hearing voices of gangsters, but it turns out to be a parrot. Mel Blanc voices the parrot.

Gilligan first hears the voices while gathering wood...and for once he's not stuck with nobody believing him, because the Skipper hears them too. As the male castaways search for the gangsters in the jungle, there's a cartoon-style scuffle between two groups, with a dust cloud rising from the brush and a castaway occasionally popping up into view. They also attempt to fool the gangsters into thinking they have greater, armed numbers by mocking up soldiers in the windows of one of the huts (putting good story use to Mr. Howell having brought so many clothes).

But they soon discover that the source of the voices is a parrot named Sam, whom the Professor believes may provide them a means of escape, as the dialogue he's repeating would seem to indicate that there are gangsters with a boat somewhere nearby. The castaways can't get Sam to talk on demand, but get reactions from the word "boat". Mr. Howell also gets reactions from "jewels," causing him to want to spend some alone time with Sam thinking there's a treasure involved. Eventually Sam leads them to a cave where they find a 1906 newspaper and dig up a box of Jewel Crackers.

In the coda, Sam's cage is in Gilligan and the Skipper's hut, which is causing them to lose sleep. Bet we never see Sam again.

_______

Number one? Really? We had a lot to answer for, for some of our choices back then. :lol:
:lol:

Can’t recall if I’v ever heard this song, but I do like it. I know Little Milton had other hits though, including the unforgettable Grits Ain’t Groceries (eggs ain’t poultry, and Mona Lisa was a man).:)
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(charted Feb. 1, 1969; #73 US; #13 R&B)
Not bad.

My family was from New Orleans, so I heard this song growing up in recorded versions and chants by my sister and her friends. This song is rather violent. It”s about a confrontation between Mardi Gras Indian gangs. There’s a bunch of songs like this in New Orleans culture.
Interesting. Hadn't paid that much attention to the lyrics or looked up the meaning.

This is pleasant.
gblews said:
This guy was an actor, right? He has a pretty good voice, though can’t say much for the song.
Yes...this was another late addition here when I saw that it would be entering the Top 20. Apparently this was the closing theme of a one-season TV wonder that aired in 1969-70 called Then Came Bronson, on which Parks starred and for which he apparently performed other songs that were used in the episodes. Can't say I like the song enough to get it.

RJDiogenes said:
Groovy. Johnny is hip to the scene. :bolian:
A contribution to the times-signiness.

RJDiogenes said:
Just kind of a song.
gblews said:
Another band from my childhood. I used to see these guys singing at neighborhood festivals. Love Land is a great song. Why don’t we hear r&b male voices like these anymore?
It has a nice sound, but doesn't really pop for me with early listens.

gblews said:
Another of those great r&b falsettos.
RJDiogenes said:
Classic Oldie.
I think I may have originally been familiar with the Stacy Lattisaw cover from 1981. An oldies radio classic with a memorable hook lyric.

gblews said:
Loved pretty much all these guys did back in the day.
RJDiogenes said:
S&G. 'nuff said.
Plug album review here.

RJDiogenes said:
It's great, of course, but it's on True Colors, not She's So Unusual.
I don't think the hiccups add anything to the song.
 
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This one was just about to fall off the chart, so I'm not sure how much good the appearance was doing them in the day, but we got a good visual performance out of it (if a low-quality YouTube video):
There's another classic.

I don't say that as lightly as some. :p
Not lightly, just incorrectly. :rommie:

Here's the studio version:
That's the bad 50s. :rommie:

When they go over to Ed afterward, he asks one of them to lift him up...which he does!
Now that's something I'd like to see.

Also in the original episode according to tv.com:
On the other hand, I don't regret missing the golf conversation at all.

Jason tries to explain his mission, but nobody believes him about his secret assignment from the president...the major having special reason to be skeptical, as his son was killed at Bitter Creek.
This guy has the worst luck.

The next morning, facing the firing squad, Jason ask for one last request
Clever....

With that confirmation, Whitcomb calls Jason in, convinced of his innocence. As Jason is leaving the fort, the major tells him that he's ready to put Bitter Creek behind him and hands him his saber; and Dewey and Tyler salute Jason with respect as he passes through the gate.
An unexpectedly nice ending. I wonder if he'll go back and visit the president again now, or just continue a-wanderin.'

But they soon discover that the source of the voices is a parrot named Sam
To everybody's relief but Ginger's.

Eventually Sam leads them to a cave where they find a 1906 newspaper and dig up a box of Jewel Crackers.
But no skeleton. A skeleton would have been cool. And that's one old parrot. Parrots do have long lifespans, but that's kind of pushing it.

In the coda, Sam's cage is in Gilligan and the Skipper's hut, which is causing them to lose sleep. Bet we never see Sam again.
Tastes like chicken.

Apparently this was the closing theme of a one-season TV wonder that aired in 1969-70 called Then Came Bronson, on which Parks starred and for which he apparently performed other songs that were used in the episodes.
I vaguely remember the show, but not the musical component.

A contribution to the times-signiness.
A pretty nice one, too.

I don't think the hiccups add anything to the song.
Hiccups are to Cindy Lauper what "Yiaow" is to Joan Jett. I take it you're not a fan. :rommie:
 
(charted Feb. 1, 1969; #73 US; #13 R&B)
Not bad.
Great song. Great performance. I imagine this is what blues legend, Bobby Blue Bland may have sounded when he was younger. Haven’t heard this song in many many years and it actually sounds better to me now than it did years ago.
 
_______

50th Anniversary Viewing

_______

Mission: Impossible
"The Martyr"
Originally aired March 29, 1970 (season finale)
Wiki said:
Paris poses as the son of a martyred youth leader in order to stop a dictator who plans to crush the youth movement of his country.

The miniature reel-to-reel tape in a Mexican-themed gift shop said:
Good morning, Mr. Phelps. To counteract heavy pressure from their country's young people, Premier Anton Rojek [John Larch] and his special adviser, Josef Czerny [Scott Marlowe], have summoned a special congress of the government-controlled Youth Organization. Its purpose: to endorse Rojek's repressive regime.

Your mission, should you choose to accept it, is to stop the student congress from being used as a rubber stamp and to expose Rojek and Czerny before the young people and the world. As always, should you or any member of your IM Force be caught or killed, the Secretary will disavow any knowledge of your actions. This tape will self-destruct in five seconds. Good luck, Jim.

This one switches up the usual formula by giving us no portfolio or briefing...transitions straight from the tape to the mission in progress. There are a couple of guest agents, but we meet them along the way. I rather liked it.

One of the agents, Dr. Valari (Peter Brocco), puts a chip into Phelps via which Barney can talk to him. Jim is hypnotically conditioned by Paris, who got a haircut, to respond only to what Barney tells him if he's under the influence of a truth drug.

The other guest agent, a young, blonde hippie chick named Roxy (Lynn Kellogg, apparently an original cast member of Hair), informs Barney regarding the status of Maria Malik (Anna Lee)--the now-institutionalized widow of the country's former democratic leader, whom many of the young people worshiped. Barney shoots a message up into Madame Malik's window, and she shows us that she's still with it, having a concealed code book to decipher it.

Jim meets an underground contact at a book shop under a false identity. The contact takes Jim's message for Madame Malik straight to Rojek and Czerny. The message sets up that the guy Paris is pretending to be is really Malik's son, Peter, who's coming into the country. Jim is promptly arrested.

At a young people's reception, Paris shows up and is met by Rojek. Pretending not to know who he really isn't, Paris criticizes Malik Sr. Roxy performs "The Times They Are a-Changin'" on acoustic guitar. When she's introducing her next number, Paris speaks out against her values, Barney socks him, and Police Willy arrests Barney, who's but into a cell but allowed to keep his book by Rojek. Barney thermites the bars on the window and climbs around the outside of the building to bug the phone of Rojek's interrogation expert, Prof. Kadar.

Meanwhile, Jim fake breaks under questioning and spills what he fake knows about who Paris fake is. Czerny sees an opportunity to use Paris to destroy the cult of Malik, so they call Kadar [Ed Bakey] while Barney's still in his office, having just planted the bug. After another close call getting back into his cell when his meal is early, Barney uses a device concealed in the book to listen to Jim being hypnotized by Kadar, and feeds the right fake answers to Jim via the chip. Jim fake reveals that he's an agent for the American Counterespionage Agency and verifies who Paris really isn't. The remote counter-interrogation hits a temporary snag when Barney is interrupted by the guard coming back to take his tray.

Rojek and Czerny play a recording of Jim's interrogation to Paris and reveal to him who he really isn't. Not Peter stands firm behind his anti-Malik beliefs, and is fake-reluctantly convinced to speak at the closing rally of the congress. After Paris's fake true identity and speaking gig is advertised on the radio, Dr. Valari calls Rojek's office to claim that Malik Jr. is really dead, and subsequently shows Rojek and Czerny the grave. The identity of the remains checks out, so Rojek figures that Paris is a deliberate impostor who'll use the speech to turn the crowd against him. He decides to bring Maria Malik and Secret Agent Jim to the speech so that he can take the opportunity to expose all three publicly with evidence of the real Peter Malik's fate.

The rally is a relatively small indoor affair on a set, backed up by stock footage of the crowd outdoors who are listening to what's happening inside via loudspeaker. When Paris speaks, he actually attempts to denounce Malik Sr., and is shouted down by Maria, who is hauled away. With the aid of Roxy starting a chant, the crowd gets ugly on Rojek...while Maria, Paris, and Jim are taken to a police wagon, which Willy and the now released and uniformed Barney commandeer. The episode ends with the unusual touch of a reprise of Roxy's rendition of "Times" playing over stock footage of youthful crowds running around in the streets and goofy-looking reaction shots of Rojek.

Mission: Accomplished.

Peter Malik is supposed to have died twenty years previously at the age of five...so Nimoy's playing a 25-year-old? He was pushing 40 at this point.

_______

Ironside
"Little Dog, Gone"
Originally aired April 2, 1970
Wiki said:
Ironside attempts to capture dognappers who are abducting dogs owned by rich people.

Ironside gets caught up in the affair when he visits Commissioner Randall's office at the same time as one of the victims, Sissy Cardwell (Marsha Hunt), who's a personal acquaintance of Randall's. In one comical speech back at the Ironsidecave, the Chief both expresses his indignation and passes the buck to Ed and Eve. Mark manages to get out of it because he's not technically an employee, but when he's painting the home of a ladyfriend, Rachel (Darien Daniels), he overhears her talking to a man who's extorting her for a higher reward for returning their dog.

Eve visits Sissy at a private club that they both belong to and meets her antiestablishment niece, Marla (Belinda Montgomery), who occupies the conspicuous top spot in the front guest credits, above her aunt. The episode doesn't think it's fooling us, because--having previously shown us the dognapper, Derek (Martin West), and the extortionist dog-returner, Denby (Abner Biberman)--it quickly reveals that Marla is Derek's girlfriend, is in on the operation, and is the one keeping her aunt's dog. She starts having second thoughts, though, when Derek decides to up his game to outright ransoming.

Meanwhile, back at the Cave, Mark is at work investigating the affair, and has pulled the Chief grudgingly in. Team Ironside quickly zeroes in on Denby as the returner, so Ed and Mark enlist Rachel's aid to sting him when he brings back her dog. Ed, Mark, and a couple of uniformed officers then visit Denby's junkyard lair, where they find several abducted dogs being kept, but not all of the missing ones. Ed brings Miguel--the dog of a Mr. Fuente (Frank Puglia) to whom he had spoken earlier--to the Cave, to the Chief's initial consternation...though Ironside takes control of the situation by giving Miguel commands in Spanish.

At this point the Chief is more invested in the case and wants to see it through, especially as he sniffs out that there's more to it. The team confronts the three private club members whose pets haven't been returned, but who have been claiming they were; these are the ones who received full ransom demands. The Chief quickly sniffs out Marla as a suspect and has her tailed. Marla uses a briefcase switch to deliver the ransom, but the team has a bug in the case, so they figure out her trick, though not quickly enough to get the case.

At their hunting cabin hideout, Derek reveals that he plans kill the dogs rather than return them, but TI gets there in time. When Derek and Marla flee into the woods, Ironside has the dogs let loose so that Sissy's dog will go after Marla. Derek abandons Marla when he realizes what's going on, and they find her, despondent. Ed and Mark run down Derek, and Mark takes him down with fighting moves that include a judo throw.

In the coda, Mr. Fuente comes to the Cave to retrieve Miguel and, when Ed won't accept a monetary reward, gives him a wood carving of a deer.

This one had several good comic beats with the Chief.

_______

Adam-12
"Log 134: Child Stealer"
Originally aired April 4, 1970
Wiki said:
Another exciting day on patrol — Malloy and Reed chase down a suspected kidnapper, arrest carjackers, and run down an escaped prisoner.

The episode opens with Reed and Malloy coming out of Duke's to find that a German shepherd has jumped into Reed's window. The dog doesn't want to come out until his owner, a young boy, comes for him.

On patrol, the officers respond to a call about a possible kidnapping. They learn that the baby of a Mrs. Bannister (Gloria Manon) has been taken by her estranged husband. Malloy thinks he'll return the baby, and that hes just using her as a bargaining chip to make Mrs. B listen to him.

Next they check out a dispute at a drug store involving an elderly Mr. Ward (Burt Mustin), who's trying to pay for his meal at the food counter with trading stamps. Eventually persuaded to pay with legal tender, he hands over a $100 bill.

The officers then investigate a bus on the side of the road that's been evacuated by the driver and passengers. It seems that a passenger sleeping in one of the seats (Quentin Sondergaard) has a gun on him. Malloy suspects that he's an escaped prisoner and playing possum. Malloy confronts him from behind cover at the front of the bus. The man tries to allay Malloy's suspicions and then draws, but Reed gets him through the window. Reed learns at the station that the man survived. There's mention of a review board to take place later that day, but when we next see the officers, it's the following day and they're back on patrol.

The driver of a delivery van in front of the squad car makes hand signals with his left arm, which is hanging down from the window. The officers pull him over and see that his passenger has a gun. When Reed makes the passenger get out, the driver jumps out and tells them that there's another in the back. They all take cover behind the squad car doors and call for the other hijacker to come out. He does, unarmed. Back at the station, the officers turn down a case of booze each from the driver.

On patrol again, the officers spot Mr. Bannister's car and pursue it. Bannister (Squire Fridell) pulls over and runs out, leaving the infant on the floor of the passenger heat. Reed tackles and cuffs Bannister, who then tells of how the child isn't his, but he took the her because Mrs. B was threatening to kill herself and the baby.

In the locker room coda, we learn that Reed twisted his ankle and the baby's been put in protective custody.

_______

Now that's something I'd like to see.
It was just lifting Ed off his feet with a bear hug.

On the other hand, I don't regret missing the golf conversation at all.
The show offered everyone in the family something during which they could get up and go to the bathroom.

I wonder if he'll go back and visit the president again now, or just continue a-wanderin.'
As I recall, Grant does pop up again in a later episode...one which, from what I recall of seeing it in the background, may have continuity issues with Grant's use here.

And that's one old parrot. Parrots do have long lifespans, but that's kind of pushing it.
I was wondering about that.

Tastes like chicken.
Nasty.

Hiccups are to Cindy Lauper what "Yiaow" is to Joan Jett. I take it you're not a fan. :rommie:
Eh...I got her major singles when I was working in that era. But give me a '60s original and an '80s cover, and it's usually no contest.
 
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One of the agents, Dr. Valari (Peter Brocco), puts a chip into Phelps via which Barney can talk to him. Jim is hypnotically conditioned by Paris, who got a haircut, to respond only to what Barney tells him if he's under the influence of a truth drug.
This strikes me as something they should all have permanently installed. :rommie:

The other guest agent, a young, blonde hippie chick named Roxy
Mission: Modpossible.

Roxy performs "The Times They Are a-Changin'" on acoustic guitar.
This is slightly surprising. We don't usually get real (i.e. expensive) songs on TV shows.

The remote counter-interrogation hits a temporary snag when Barney is interrupted by the guard coming back to take his tray.
"Why have you illegally infiltrated our country?"
"The apple pie is pretty good."

The episode ends with the unusual touch of a reprise of Roxy's rendition of "Times" playing over stock footage of youthful crowds running around in the streets and goofy-looking reaction shots of Rojek.
Power to the people!

Peter Malik is supposed to have died twenty years previously at the age of five...so Nimoy's playing a 25-year-old? He was pushing 40 at this point.
Being dead takes its toll on a guy.

In one comical speech back at the Ironsidecave, the Chief both expresses his indignation and passes the buck to Ed and Eve.
Wow, he really is grumpy. Save the puppies, Ironside!

This one had several good comic beats with the Chief.
It's a good idea for an episode. Animals are people, too!

Malloy thinks he'll return the baby, and that hes just using her as a bargaining chip to make Mrs. B listen to him.
That's a bit cavalier, Malloy. It's a freakin' baby.

Eventually persuaded to pay with legal tender, he hands over a $100 bill.
His entire life savings. :(

There's mention of a review board to take place later that day, but when we next see the officers, it's the following day and they're back on patrol.
While one is under review, they just pop another one out of the clone vat.

In the locker room coda, we learn that Reed twisted his ankle and the baby's been put in protective custody.
Yeah, maybe we should look into this. :rommie:

It was just lifting Ed off his feet with a bear hug.
Still.... :rommie:

As I recall, Grant does pop up again in a later episode...one which, from what I recall of seeing it in the background, may have continuity issues with Grant's use here.
Ugh, I hate continuity issues.

:rommie:

Eh...I got her major singles when I was working in that era. But give me a '60s original and an '80s cover, and it's usually no contest.
Her first album in particular is really great.
 
50th Anniversary Album Spotlight

Moondance
Van Morrison
Released January 27, 1970 (UK); February 28, 1970 (US)
Chart debut: March 14, 1970
Chart peak: #29, May 30, 1970
#65 on Rolling Stone's 500 Greatest Albums of All Time
Wiki said:
Moondance is the third studio album by Northern Irish singer-songwriter Van Morrison. It was released on 27 January 1970 by Warner Bros. Records. After the commercial failure of his first Warner Bros. album Astral Weeks (1968), Morrison moved to upstate New York with his wife and began writing songs for Moondance. There, he met the musicians that would record the album with him at New York City's A & R Studios in August and September 1969.

The album found Morrison abandoning the abstract folk jazz compositions of Astral Weeks in favor of more formally composed songs, which he wrote and produced entirely himself. Its lively rhythm and blues/rock music was the style he would become most known for in his career. The music incorporated soul, jazz, pop, and Irish folk sounds into songs about finding spiritual renewal and redemption in worldly matters such as nature, music, romantic love, and self-affirmation.


The album opens with "And It Stoned Me," in which Morrison describes a childhood experience of having gotten "stoned" on nature:
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Next up is the title track, the smooth, jazzy oldies radio classic "Moondance," which won't be released as a single for several years (charts Nov. 19, 1977; #92 US; #226 on Rolling Stone's 500 Greatest Songs of All Time):
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Following that is the romantic ballad "Crazy Love"--not to be confused with the 1979 song by Poco.

"Caravan" uses gypsy imagery to express a memory of being able to clearly hear a radio from a distant house:
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The first side closes with "Into the Mystic" (#480 on Rolling Stone's 500 Greatest Songs of All Time), which Wiki describes as being "about a spiritual quest, typical of Morrison's work":
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Wiki said:
A Rolling Stone review by Greil Marcus and Lester Bangs described the song's importance on the album as: "'Into the Mystic' is the heart of Moondance; the music unfolds with a classic sense of timing, guitar strums fading into watery notes on a piano, the bass counting off the pace. The lines of the song and Morrison's delivery of them are gorgeous: 'I want to rock your gypsy soul/Just like in the days of old/And magnificently we will fold/Into the mystic.' The Moondance Allmusic review described it as "a song of such elemental beauty and grace as to stand as arguably the quintessential Morrison moment."
Fun fact...
Wiki said:
According to a BBC survey, because of this song's cooling, soothing vibe, this is one of the most popular songs for surgeons to listen to while performing operations.


Side two opens with current 50th anniversary single "Come Running" (charted Apr. 4, 1970; #39 US). Seems like "Moondance" might have made more of a splash had it been released in the day.

The bluesy "These Dreams of You" was inspired by, of all things, a dream that Morrison had about Ray Charles being assassinated...!

"Brand New Day" was inspired by Morrison having been lifted up by hearing a song by the Band on the radio...though it's uncertain whether it was "The Weight" or "I Shall Be Released".
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The album's upbeat penultimate song, "Everyone," distinctively features clavinet and flute.

The album closes with the also-upbeat "Glad Tidings," which is more than a little reminiscent in places of "Brown Eyed Girl".

Wiki said:
Moondance was an immediate critical and commercial success. It helped establish Morrison as a major artist in popular music, while several of its songs became staples on FM radio in the early 1970s. Moondance has since been cited by critics as one of the greatest albums of all time.
This one is generally a good listen with a couple of stone-cold classic tracks on it; but while it's one of those albums that grows on me a little with each listen, it didn't really pop for me the way some do.

_______

This strikes me as something they should all have permanently installed. :rommie:
Just popped into the installation scene while looking for something else, and they asserted that it had a very limited range...guess that's why Barney had to be in a cell near the interrogation doctor's office.

Mission: Modpossible.
Solid.
MI40.jpg
Where's Pete?

This is slightly surprising. We don't usually get real (i.e. expensive) songs on TV shows.
At least, not that they paid royalties for to keep with the show in home video / syndication.

"Why have you illegally infiltrated our country?"
"The apple pie is pretty good."
Actually, Barney wasn't eating anything...claimed he'd started a hunger strike before getting nabbed.

That's a bit cavalier, Malloy. It's a freakin' baby.
He was speaking from his police experience.

His entire life savings. :(
Didn't play that way. He said it was the smallest he had. Back in the car, Reed speculated that he might be one of those old misers who had thousands of dollars stashed in a mattress.

While one is under review, they just pop another one out of the clone vat.
Ah, a new running gag...
 
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Moondance
Van Morrison
Definitely a unique artist. His voice and style are immediately recognizable, yet seldom repetitive-- in the same vein as artists like Boston or CCR.

Next up is the title track, the smooth, jazzy oldies radio classic "Moondance," which won't be released as a single for several years (charts Nov. 19, 1977; #92 US; #226 on Rolling Stone's 500 Greatest Songs of All Time):
A magical song. I can't believe this wasn't released as a single until 1977. I must have known somebody who had the album, although I have no specific memory of that.

Following that is the romantic ballad "Crazy Love"--
I absolutely love this song, and it has strong early 70s connections for me, which confirms that I heard the album somewhere, but not at home-- because, in those pre-Internet days, it took me an embarrassing amount of time to figure out that this was Van Morrison. For years, I thought it was a one-hit wonder.

Fun fact...
I wonder if they order Mystic Pizza afterwards.

Just popped into the installation scene while looking for something else, and they asserted that it had a very limited range...guess that's why Barney had to be in a cell near the interrogation doctor's office.
Makes sense, otherwise it would become too much of a transporter-like crutch.

Now that's cool. :D

He was speaking from his police experience.
Yeah, but it doesn't jibe with my knowledge of child kidnappings. Different era, I guess.

Didn't play that way. He said it was the smallest he had. Back in the car, Reed speculated that he might be one of those old misers who had thousands of dollars stashed in a mattress.
Ah, a casualty of the Great Depression.

Ah, a new running gag...
I love running gags. :rommie:
 
50th Anniversary Cinematic Special

MASH
Directed by Robert Altman
Starring Donald Sutherland, Elliott Gould, and Tom Skerritt
Premiered January 25, 1970
Generally released March 18, 1970
Winner of 1971 Academy Award for Best Writing, Screenplay Based on Material from Another Medium (Ring Lardner Jr.); Nominated for Best Picture; Best Actress in a Supporting Role (Sally Kellerman); Best Director; and Best Film Editing
Wiki said:
MASH (stylized on the poster art and related marketing as M*A*S*H) is a 1970 American black comedy war film directed by Robert Altman and written by Ring Lardner Jr., based on Richard Hooker's novel MASH: A Novel About Three Army Doctors. The picture is the only theatrically released feature film in the M*A*S*H franchise, and it became one of the biggest films of the early 1970s for 20th Century Fox.

The film depicts a unit of medical personnel stationed at a Mobile Army Surgical Hospital (MASH) during the Korean War. It stars Donald Sutherland, Tom Skerritt, and Elliott Gould, with Sally Kellerman, Robert Duvall, René Auberjonois, Gary Burghoff, Roger Bowen, Michael Murphy, and in his film debut, professional football player Fred Williamson. Although the Korean War is the film's storyline setting, the subtext is the Vietnam War — a current event at the time the film was made. “M*A*S*H,” said Doonesbury creator Garry Trudeau, who saw the film in college, was ”perfect for the times, the cacophony of American culture was brilliantly reproduced onscreen.”
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As casual as my familiarity with the TV series is, I noticed some differences upfront. Hawkeye (Sutherland) and Trapper John (Gould) are 2/3 of a trio that's rounded out by a guy named Duke Forrest (Skerritt); and Klinger is nowhere to be found. Also, was Burns (here played by Robert Duvall) devoutly religious in the series?

Here we see how Major Houlihan (Sally Kellerman) got her nickname:
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Noteworthy in these parts, Father Mulcahy is played by René Auberjonois.

The guys subsequently find a way to get rid of Burns...not sure if there was a corresponding exit on the series:
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The guys don't manage to drive away Hot Lips, despite their best efforts:
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There's also a dentist nicknamed "Painless" (John Schuck), who's the center of a substantial segment of the story.
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A little too cute that Painless attempting to commit suicide is accompanied by "Suicide Is Painless" (the song that the TV theme was based on, with lyrics by the director's 14-year-old son).

Overall, this was worth checking out, but it didn't really grab me. And for a story set in the early '50s, it felt very early '70s.

It remains to be seen if I'll give the series a swing in my 50th anniversary viewing when the time comes. Even if I do, I don't know if I'd be up for 11 seasons! Three seasons would be reasonable...that was the actual length of the war.

Wiki said:
The film won Grand Prix du Festival International du Film, later named Palme d'Or, at 1970 Cannes Film Festival. The film went on to receive five Academy Award nominations, including Best Picture, and won for Best Adapted Screenplay. MASH was deemed "culturally significant" by the Library of Congress and was selected for preservation in the United States National Film Registry. The Academy Film Archive preserved MASH in 2000. The film inspired the television series M*A*S*H, which ran from 1972 to 1983.

_______

Yeah, but it doesn't jibe with my knowledge of child kidnappings. Different era, I guess.
But this was specifically a case of the kidnapper being one of the parents...that informed Malloy's opinion.
 
As casual as my familiarity with the TV series is
I was actually a loyal viewer of the show for most of its run, but I have yet to see the movie.

Hawkeye (Sutherland) and Trapper John (Gould) are 2/3 of a trio that's rounded out by a guy named Duke Forrest
The TV series definitely takes place in a different universe than the movie, but they do mention this character at least once.

Also, was Burns (here played by Robert Duvall) devoutly religious in the series?
Yes, although that aspect of the character faded over time.

Noteworthy in these parts, Father Mulcahy is played by René Auberjonois.
I barely recognize him. :eek:

The guys subsequently find a way to get rid of Burns...not sure if there was a corresponding exit on the series:
The character left the show because of a mental breakdown, but it all happened offscreen, between seasons.

Overall, this was worth checking out, but it didn't really grab me. And for a story set in the early '50s, it felt very early '70s.
It was probably intentionally anachronistic, like other movies, such as Jesus Christ, Superstar, were, although not as blatant.

It remains to be seen if I'll give the series a swing in my 50th anniversary viewing when the time comes. Even if I do, I don't know if I'd be up for 11 seasons! Three seasons would be reasonable...that was the actual length of the war.
If you restrict yourself to the first three seasons, you'll miss the best stuff. M*A*S*H is a rare show that improved over time. At first, it was very broad and slapstick, although not without the satire that it was known for, but over time became something much more compelling and unique. Part of that is that the show improved greatly every time one of the original characters was replaced, which is another notable oddity for a TV show.

But this was specifically a case of the kidnapper being one of the parents...that informed Malloy's opinion.
That's exactly it. Most kidnappings are carried out by parents or relatives or people close to the family. It's not something I'd expect Malloy to take so lightly.
 
_______

50th Anniversary Catch-Up Viewing

_______

Dragnet 1968
"The Big Problem"
Originally aired March 28, 1968 (season finale)
Xfinity said:
Friday and Gannon find the solution when several charges of police brutality are brought against the department.

Sgt. Joe Friday said:
This is the city: Los Angeles, California. I work here. I carry a badge.
Well that saved me a lot of transcribing!

Wednesday, May 12 (last occurred in 1965): Friday, working out of Foothill Division as community relations officer, is accompanied by Gannon while attending a citizens' group meeting...a great opportunity for him to lecture and infodump. He encourages the citizens to call their CRO rather than allow rumors about things like police brutality to spread. He also lectures about how stories of police brutality are overblown. A young black man (Georg Stanford Brown) speaks out angrily and leaves the meeting.

The next day, a couple of the meetings' attendants, John and Elsa Erickson (Roy Glenn and Maidie Norman), come into HQ to object to having been pulled over for no apparent reason. Checking the log of the officers involved, Friday finds that they were singled out because of a combination of their make of car, a rash of burglaries in the area, and how they happened have a TV set in their back seat. Friday thinks the main mistake the officers made was not explaining why the couple was being stopped, and he later takes the opportunity to listen to their side of the story in the break room, and then lectures them, giving one of the officers, Ron Braven (Charles Brewer), a particular dressing-down for displaying an attitude problem.

The next day, Friday and Gannon attend the day watch roll call to lecture all of the uniformed officers about being kinder and more understanding with the citizens with whom they come into contact. He also tries to sign up some volunteers to give talks in their off-duty hours.

Driving the streets, the detectives respond to an all-units radio call for a unit in need of assistance. A traffic warrant suspect is holing up in an apartment, saying the police will have to kill him to get him out. He turns out to be Billy Jones, the young man who walked out of the meeting. Friday talks to Jones through the door, and learns that Billy believes he'll get beat up if he goes to the station. Friday appeals to his sense of pride in himself and his community, persuading Jones to walk out calmly. He's still skeptical about how he'll be treated by "the man," but the onlooking neighbors seem impressed by how the situation was resolved peacefully.

The Announcer said:
On May 25, trial was held in Division 85, Municipal Court, Los Angeles Judicial District....The suspect plead guilty to 21801 VC, illegal left turn, and was fined $12.50. On the recommendation of the arresting officers, the charge of 148 PC, resisting arrest, was dismissed.


Celia (T'Pau) Lovsky was in this one as a woman at the citizens' group meeting, though I didn't catch her until I want back to look for her. She had one line: "What can we do about something like that?"

_______

Dragnet 1969
"Public Affairs (DR-07)"
Originally aired September 19, 1968 (season premiere)
Xfinity said:
Friday and Gannon defend fellow policemen in a debate over charges of brutality, ineffectiveness and ignorance.

Sgt. Joe Friday said:
This is the city: Los Angeles, California. I work here. I carry a badge.
Damn, they're just making it easy for me this week. I wonder if this is the new norm, or just a coincidence?

Wednesday, September 4 (1968!): Friday and Gannon are working the day watch out of Robbery Division when they're recruited by Public Affairs to represent the force on a TV program called Speak Your Mind, on which the bead-wearing host, Chuck Bligh (Anthony Eisley), will moderate a panel debate. The topic is "The Fuzz: Who Needs Them?" On the opposite side of the panel are activist Prof. Tom Higgins (Stacy Harris) and underground paper editor/publisher Jesse Chaplin (Don Sturdy, a.k.a. Howard Hesseman, looking very much like you'd expect Johnny Fever to have looked a decade before WKRP).

Chaplin opens with rhetoric about the police being tools of the fascist establishment. Higgins is OK with the police to a point, but has strong feelings about their involvement with demonstrations. Bligh, who's been described as no fan of the police, feeds into the anti-fuzz rhetoric. Friday's rebuttals repeatedly touch upon how the police are just servants of the people.

After a commercial, members of the audience have a chance to speak their minds. The first is against gun registration. The next is a young man who wants to know why marijuana is illegal. The conversation switches to LSD, and Friday sensibly if squarely recommends the public library as an alternative for mind expansion.

Following another commercial, Mondo Mabamba (Dick Williams), the president of the Black Widow party, takes the podium with rhetoric about police brutality. Friday asserts that in twelve years he's drawn his gun eight times and fired it twice; and Gannon says that he's only ever drawn his on the shooting range. I have to wonder if these assertions would hold up against the series to date, including the original '50s run. Following Mabamba are a Mexican American who thinks discrimination was responsible for him not being able to get on the force, but Friday points out that he doesn't meet the height requirement; and an attractive young woman who's vocally pro-police.

The program closes with final words from the panel. Higgins: the police are part of a broken system. Chaplin: "Cops are alright, but I wouldn't want my sister to marry one." Friday: Policemen are human, too, and they make mistakes, but they also have to make hard, life-and-death decisions. Friday likens the police to the military, and Chaplin tosses him a "Make Love, Not War" button. Friday: "Wouldn't it be nice if that were the alternative?"

This one has no perps and no mugshot. The episode closes with the Dragnet fanfare playing as the panelists leave the stage.

I think the issue of police brutality, especially in demonstrations, was glossed over a bit...particularly as this episode was following hot on the heels of the '68 Democratic National Convention. There's a good chance it was actually produced prior to the convention, which would be a shame, because I'd love to see how Friday would have spun the same topic if the episode had been made in its aftermath.

There's also rhetoric from Friday in both of these episodes about how the LAPD is trying to do more to improve race relations. This makes me think that Webb should have put his money where his mouth was and cast one of the officers in Adam-12 with a black actor.

_______

I was actually a loyal viewer of the show for most of its run, but I have yet to see the movie.
Interesting...maybe you should take the opportunity to give a try. I recall my dad, who watched the show, watching the movie when it came on weekend TV in the '80s.

BTW, I neglected to mention that Gary ("Radar" O'Reilly) Burghoff is the only actor from the film who went on to play his role in the series.

If you restrict yourself to the first three seasons, you'll miss the best stuff. M*A*S*H is a rare show that improved over time. At first, it was very broad and slapstick, although not without the satire that it was known for, but over time became something much more compelling and unique. Part of that is that the show improved greatly every time one of the original characters was replaced, which is another notable oddity for a TV show.
Good to know, but we'll see. I'd say that if the show doesn't manage to hook me in three years, then...
 
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Friday, working out of Foothill Division as community relations officer, is accompanied by Gannon while attending a citizens' group meeting...a great opportunity for him to lecture and infodump.
He never misses an opportunity. :rommie:

A traffic warrant suspect is holing up in an apartment, saying the police will have to kill him to get him out. He turns out to be Billy Jones, the young man who walked out of the meeting. Friday talks to Jones through the door, and learns that Billy believes he'll get beat up if he goes to the station.
Probably not wise to express a preference to be killed then.

Celia (T'Pau) Lovsky was in this one as a woman at the citizens' group meeting, though I didn't catch her until I want back to look for her. She had one line: "What can we do about something like that?"
"The air is the air. What can be done?"

Damn, they're just making it easy for me this week. I wonder if this is the new norm, or just a coincidence?
Maybe they're compensating for increasing commercial time or something.

The topic is "The Fuzz: Who Needs Them?"
Okay, now, come on. :rommie:

underground paper editor/publisher Jesse Chaplin (Don Sturdy, a.k.a. Howard Hesseman, looking very much like you'd expect Johnny Fever to have looked a decade before WKRP).
Well, he had a habit of changing his name....

Friday asserts that in twelve years he's drawn his gun eight times and fired it twice; and Gannon says that he's only ever drawn his on the shooting range. I have to wonder if these assertions would hold up against the series to date, including the original '50s run.
I don't know, but there's definitely not a lot of gunplay on this show.

Friday: Policemen are human, too, and they make mistakes, but they also have to make hard, life-and-death decisions.
And it takes its toll on their mental health as well.

I think the issue of police brutality, especially in demonstrations, was glossed over a bit...particularly as this episode was following hot on the heels of the '68 Democratic National Convention. There's a good chance it was actually produced prior to the convention, which would be a shame, because I'd love to see how Friday would have spun the same topic if the episode had been made in its aftermath.
Jack Webb is definitely pro-cop and does his best to promote them in a positive way, which is good. But they certainly do gloss over issues and undermine their own credibility by presenting a naive view of the counterculture. On the other hand, their presentation of the counterculture is generally diplomatic and sympathetic. But it would be interesting to see Friday and Gannon have to deal with some serious example of police wrongdoing.

There's also rhetoric from Friday in both of these episodes about how the LAPD is trying to do more to improve race relations. This makes me think that Webb should have put his money where his mouth was and cast one of the officers in Adam-12 with a black actor.
George Stanford Brown would have been a good choice. But, of course, they had to do something with all those Kent McCord clones.

Interesting...maybe you should take the opportunity to give a try. I recall my dad, who watched the show, watching the movie when it came on weekend TV in the '80s.
I actually don't care for most of the cast. And it always seemed to me that the characters in the movie were more assholes than rascals.

BTW, I neglected to mention that Gary ("Radar" O'Reilly) Burghoff is the only actor from the film who went on to play his role in the series.
That's true. I did know that.

Good to know, but we'll see. I'd say that if the show doesn't manage to hook me in three years, then...
One thought is that you might want to start with the first appearance of Colonel Potter, rather than at the beginning.
 
55 Years Ago This Week

Wiki said:
April 11 – The 1965 Palm Sunday tornado outbreak: An estimated 51 tornadoes (47 confirmed) hit in 6 Midwestern states, killing between 256 and 271 people and injuring some 1,500 more.
Mark Lewisohn's The Beatles Day by Day said:
April 13 – Paul purchases a Victorian town house in St John's Wood, London, very close to the EMI studios on Abbey Road. At those studios, on this day, the Beatles record the Help! title track. They also film at Twickenham studios....
April 14 – The Beatles film is officially retitled Help!
Wiki said:
April 14 – In Cold Blood killers Richard Hickock and Perry Smith, convicted of murdering 4 members of the Herbert Clutter family of Holcomb, Kansas, are executed by hanging at the Kansas State Penitentiary for Men in Lansing, Kansas.
The Beatles Day by Day said:
April 15 – Last day of filming before the Easter break.
Wiki said:
April 17 – The first Students for a Democratic Society march against the Vietnam War draws 25,000 protestors to Washington, D.C.



Selections from Billboard's Hot 100 for the week:
1. "I'm Telling You Now," Freddie & The Dreamers
2. "Stop! In the Name of Love," The Supremes
3. "Game of Love," Wayne Fontana & The Mindbenders
4. "I Know a Place," Petula Clark
5. "Shotgun," Jr. Walker & The All Stars
6. "Can't You Hear My Heartbeat," Herman's Hermits
7. "Tired of Waiting for You," The Kinks
8. "Nowhere to Run," Martha & The Vandellas
9. "The Clapping Song (Clap Pat Clap Slap)," Shirley Ellis
10. "Go Now!," The Moody Blues

12. "Mrs. Brown You've Got a Lovely Daughter," Herman's Hermits
13. "The Birds and the Bees," Jewel Akens
14. "I'll Never Find Another You," The Seekers

16. "The Last Time," The Rolling Stones
17. "Eight Days a Week," The Beatles

19. "Silhouettes," Herman's Hermits
20. "I'll Be Doggone," Marvin Gaye
21. "Do You Wanna Dance?," The Beach Boys
22. "Bumble Bee," The Searchers

24. "Goldfinger," Shirley Bassey

26. "Come and Stay with Me," Marianne Faithfull

29. "Count Me In," Gary Lewis & The Playboys
30. "When I'm Gone," Brenda Holloway
31. "Just Once in My Life," The Righteous Brothers
32. "Got to Get You off My Mind," Solomon Burke

34. "Do the Clam," Elvis Presley
35. "Land of 1000 Dances," Cannibal & The Headhunters

37. "It's Growing," The Temptations
38. "Baby the Rain Must Fall," Glenn Yarbrough
39. "She's About a Mover," Sir Douglas Quintet
40. "Ooo Baby Baby," Smokey Robinson & The Miracles

42. "If I Loved You," Chad & Jeremy
43. "It's Gonna Be Alright," Gerry & The Pacemakers
44. "Ferry Cross the Mersey," Gerry & The Pacemakers

46. "Woman's Got Soul," The Impressions

52. "We're Gonna Make It," Little Milton

60. "I Do Love You," Billy Stewart
61. "Wooly Bully," Sam the Sham & The Pharoahs

63. "Iko Iko," The Dixie Cups

65. "Subterranean Homesick Blues," Bob Dylan

75. "It's Not Unusual," Tom Jones

80. "Help Me, Rhonda," The Beach Boys
81. "Just a Little," The Beau Brummels
82. "True Love Ways," Peter & Gordon
83. "Reelin' and Rockin'," The Dave Clark Five

96. "Nothing Can Stop Me," Gene Chandler


Leaving the chart:
  • "Don't Let Me Be Misunderstood," The Animals (10 weeks)
  • "Little Things," Bobby Goldsboro (12 weeks)
  • "My Girl," The Temptations (13 weeks)

New on the chart:

"Nothing Can Stop Me," Gene Chandler
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(#18 US; #3 R&B; #41 UK)

"True Love Ways," Peter & Gordon
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(#14 US; #2 UK)

"Just a Little," The Beau Brummels
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(#8 US)

"Mrs. Brown You've Got a Lovely Daughter," Herman's Hermits
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(#1 US the weeks of May 1 through 15, 1965)

"Help Me, Rhonda," The Beach Boys
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(#1 US the weeks of May 29 and June 5, 1965; #27 UK)


And new on the boob tube:
  • Branded, "Very Few Heroes"
  • 12 O'Clock High, "V for Vendetta"
  • Gilligan's Island, "Three to Get Ready"

_______

"The air is the air. What can be done?"
Exactly what I was thinking.

Okay, now, come on. :rommie:
Well, that's how Dr. Hippie Fever described it...didn't catch if it was the official name of the panel.

George Stanford Brown would have been a good choice. But, of course, they had to do something with all those Kent McCord clones.
He actually spells it Georg...and look, he was on The Rookies, so he definitely could have worked as a co-lead on Adam-12. Realistically, I'm sure that they were creating the show with McCord in mind as the junior lead, as they'd been using him so much as a cop on Dragnet...but he was so stiff and straight-laced in the role, I think that the dynamic would have been much more interesting with a young black actor as the rookie cop. The time was right for it, and again, Webb should have put his money where Friday's mouth was.

I actually don't care for most of the cast. And it always seemed to me that the characters in the movie were more assholes than rascals.
Interesting...so I take it you wouldn't consider the movie to be indicative of the show's qualities. Nor would I, even from my relatively casual exposure to the show. The movie definitely has a different tone. So I don't feel so bad for not having gotten much out of it.

Our next 50th Anniversary Cinematic Special will be one that I own on DVD...an iconic film that won a bunch of Oscars, and was in general release 50 years ago this week. Any guesses?

One thought is that you might want to start with the first appearance of Colonel Potter, rather than at the beginning.
But...that's not how this 50th anniversary retro thing works...!
 
Moondance
Van Morrison
Released January 27, 1970 (UK); February 28, 1970 (US)
Chart debut: March 14, 1970
Chart peak: #29, May 30, 1970
#65 on Rolling Stone's 500 Greatest Albums of All Time
That it’s in the top 100 of RS’s top 500 albums is no surprise. Moon dance was a great collection.
Next up is the title track, the smooth, jazzy oldies radio classic "Moondance," which won't be released as a single for several years (charts Nov. 19, 1977; #92 US; #226 on Rolling Stone's 500 Greatest Songs of All Time):
Oh, did I love this song. Couldn’t believe it was a Morrison song when first heard it, but that was because I had no idea of the scope of his his influences or his range as a songwriter.
Caravan" uses gypsy imagery to express a memory of being able to clearly hear a radio from a distant house:
Love la la la’s on the outro.
The first side closes with "Into the Mystic" (#480 on Rolling Stone's 500 Greatest Songs of All Time), which Wiki describes as being "about a spiritual quest, typical of Morrison's work":
Incredible song and performance. This song embodies my favorite thing about his vocals, that thing he does where he seems to squeeze too many words into a bar but never loses his place in the songs rhythm. And the melody...Van Morrison is one of those composers who possesses the gift of melody. Mystic is just plain beautiful. First time I heard it, it was like a visit from an old friend. I can listen to it anytime.
Side two opens with current 50th anniversary single "Come Running" (charted Apr. 4, 1970; #39 US).
Nice little up tempo ride. I love the way he uses horns in this song.
Following that is the romantic ballad "Crazy Love"--not to be confused with the 1979 song by Poco.
Another of my favs from the album. An emotional straightforward love ballad, heartfelt and sincere, with, of course, a great melody.

I’ve always liked the exercise of guessing what current artist might wind up being considered “important.” Because you just never know who it might be. No way would I have picked Van Morrison as one of those artists even though loved Gloria. I started to suspect though when I heard Brown Eyed Girl. His status with me was cemented when I heard the songs from Moondance. Anyway, great, artist, great.
 
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