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The Classic/Retro Pop Culture Thread

55 Years Ago This Week

Wiki said:
November 7 – The Pillsbury Company's mascot, the Pillsbury Doughboy, is created in the United States.
November 8
  • Vietnam War – Operation Hump: The United States Army 173rd Airborne is ambushed by over 1,200 Viet Cong.
  • The British Indian Ocean Territory is created, consisting of Chagos Archipelago, Aldabra, Farquhar and Desroches islands (on June 23, 1976 Aldabra, Farquhar and Des Roches are returned to the Seychelles).
  • The Murder (Abolition of Death Penalty) Act 1965 is given Royal Assent, suspending the death penalty for murder in the United Kingdom; renewal of the Act in 1969 makes the abolition permanent.
  • The soap opera Days of Our Lives debuts on NBC in the United States.
November 9
  • Northeast blackout of 1965: Several U.S. states (VT, NH, MA, CT, RI, NY and portions of NJ) and parts of Canada are hit by a series of blackouts lasting up to 13½ hours.
  • Vietnam War: In New York City, 22-year-old Catholic Worker Movement member Roger Allen LaPorte sets himself on fire in front of the United Nations building in protest against the war.
November 11
  • In Rhodesia (modern-day Zimbabwe), the white-minority government of Ian Smith unilaterally declares de facto independence ('UDI').
  • United Airlines Flight 227 a Boeing 727-22, crashes short of the runway and catches fire at Salt Lake City International Airport in Salt Lake City; 43 out of 91 passengers and crew perish.
  • November 12 – A UN Security Council resolution (voted 10–0) recommends that other countries not recognize independent Rhodesia.
November 13
  • The SS Yarmouth Castle burns and sinks 60 miles (97 km) off Nassau, Bahamas, with the loss of 90 lives.
  • British theatre critic Kenneth Tynan says "fuck" during a discussion on BBC satirical programme BBC-3 for what many believed was the first time on British television. The corporation later issues a public apology.



Selections from Billboard's Hot 100 for the week:
1. "Get Off of My Cloud," The Rolling Stones
2. "A Lover's Concerto," The Toys
3. "1-2-3," Len Berry
4. "You're the One," The Vogues
5. "I Hear a Symphony," The Supremes
6. "Rescue Me," Fontella Bass
7. "Everybody Loves a Clown," Gary Lewis & The Playboys
8. "Let's Hang On!," The Four Seasons
9. "Taste of Honey," Herb Alpert & The Tijuana Brass
10. "Ain't That Peculiar," Marvin Gaye
11. "Yesterday," The Beatles
12. "Turn! Turn! Turn! (To Everything There Is a Season)," The Byrds
13. "Positively 4th Street," Bob Dylan
14. "I Knew You When," Billy Joe Royal
15. "But You're Mine," Sonny & Cher
16. "Run Baby Run (Back into My Arms)," The Newbeats
17. "Everyone's Gone to the Moon," Jonathan King
18. "Keep On Dancing," The Gentrys
19. "Make Me Your Baby," Barbara Lewis
20. "You've Got to Hide Your Love Away," The Silkie
21. "Round Every Corner," Petula Clark
22. "Say Something Funny," Patty Duke
23. "My Baby," The Temptations
24. "I Want to (Do Everything for You)," Joe Tex
25. "Where Do You Go," Cher
26. "Where Have All the Flowers Gone," Johnny Rivers
27. "My Girl Has Gone," The Miracles
28. "Just a Little Bit Better," Herman's Hermits

30. "Treat Her Right," Roy Head & The Traits
31. "Hang on Sloopy," The McCoys

33. "I Found a Girl," Jan & Dean

35. "Make It Easy on Yourself," The Walker Brothers

37. "Liar, Liar," The Castaways

40. "Not the Lovin' Kind," Dino, Desi & Billy
41. "Respect," Otis Redding
42. "The 'In' Crowd," The Ramsey Lewis Trio

44. "Let Me Be," The Turtles
45. "I'm a Man," The Yardbirds

48. "Do You Believe in Magic," The Lovin' Spoonful

51. "I Can Never Go Home Anymore," The Shangri-Las

58. "Something About You," Four Tops
59. "Mystic Eyes," Them

63. "Over and Over," The Dave Clark Five

68. "I Got You (I Feel Good)," James Brown & The Famous Flames

69. "Don't Think Twice," The Wonder Who?

72. "Fever," The McCoys

78. "It's My Life," The Animals

80. "Puppet on a String," Elvis Presley

96. "Flowers on the Wall," The Statler Brothers


Leaving the chart:
  • "Act Naturally," The Beatles (7 weeks)
  • "Baby Don't Go," Sonny & Cher (12 weeks)
  • "I'm Yours," Elvis Presley (11 weeks)
  • "Some Enchanted Evening," Jay & The Americans (10 weeks)
  • "Universal Soldier," Donovan (7 weeks)

New on the chart:

"Puppet on a String," Elvis Presley
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(#14 US; #3 AC)

"Fever," The McCoys
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(#7 US; #44 UK)

"Flowers on the Wall," The Statler Brothers
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(#4 US; #2 Country; #38 UK)

"I Got You (I Feel Good)," James Brown & The Famous Flames
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(#3 US; #1 R&B; #29 UK; #78 on Rolling Stone's 500 Greatest Songs of All Time)

"Over and Over," The Dave Clark Five
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(#1 US the week of Dec. 25, 1965; #45 UK)


And new on the boob tube:
  • The Ed Sullivan Show, Season 18, episode 9
  • Branded, "Fill No Glass For Me: Part 1"
  • 12 O'Clock High, "I Am the Enemy"
  • Gilligan's Island, "Agonized Labor"
  • The Wild Wild West, "The Night of the Double-Edged Knife"
  • Hogan's Heroes, "Go Light on the Heavy Water"
  • Get Smart, "Satan Place"

_______

Have I done that before? :rommie:
Evidently so...
 
55.5th Anniversary Viewing

12 O'Clock High
"P.O.W. – Part 2"
Originally aired April 30, 1965
Xfinity said:
The kidnapping of Richter (Alf Kjellin) is central to Savage's clever plan for escape; guest James Farentino.
https://www.trekbbs.com/threads/the-classic-retro-pop-culture-thread.278375/page-105#post-12477471

This one doesn't have a recap, but there's a bit of fill-in exposition in Richter's office, revolving around showing Savage gun camera stock footage of his bomber being shot down. Savage lobbies for his men to be released from barracks custody and acts as if he wants the morning drives to stop. Richter insists that they continue for exactly the reason Savage knew...and once outside, he gives a prearranged signal to the other prisoners that the escape is on for the next morning. After Savage goes over the plan with the men, Moxey gets into a fight with a guard over a cigarette debt, because the guard grabs the pack in which Moxey keeps his black market IOUs from the other men. Savage talks the guard out of saying anything about the incident, evoking the fear of Richter.

As the plan commences, a fire is staged so that Savage's men, disguised as guards, slip onto the fire truck in the confusion, with Savage hiding in back, and take the truck to the motor pool to swap with Richter's staff car and pick him up at his house for the morning drive, accompanied by a truck carrying the other men. Doc carries off a crucial role in all of this by actually speaking German, not just speaking English in a bad accent; and then poses as the driver of the car. Lt. Regis is injured by a guard at the motor pool and gets his shoulder fractured, so he volunteers to drive the fire truck in the opposite direction as a distraction. He's soon caught and slapped around by Capt. Staufman, who figures that Regis must have been heading in the opposite direction from Savage and his men. The staff car and truck have to evade pursuit after crashing through a roadblock. Afterward they stop the truck in the wilderness as planned and Savage dons a uniform to make contact with an underground contact he was briefed on. Richter has been wounded by gunfire from his men, and Moxey argues for putting him out of his misery so he can't help blow their plan when found, but Savage disagrees.

Savage proceeds into Luneburg and makes contact with Dr. Karl Erlich (Oscar Beregi), enlisting his aid in an escape via boat of Savage's own planning, timed to coincide with the diversion of a scheduled bombing raid. Savage goes back to the team for more planning, then they sorta split up but have to rendezvous in a church at Cuxhaven. Richter himself questions why Savage is choosing to let him live. Savage takes Richter with him on his hike through the wilderness, slowing him down, and chatting a bit about Richter's career trajectory. Richter sees in Savage's compassion an opportunity to still win their private war. Savage leaves the colonel within hobbling distance of a farmhouse and boards a train, but jumps back off a little way down the line.

Richter quickly gets to a doctor and tells Staufman that he thinks Savage was actually planning to head in the opposite direction, thereby correctly deducing his destination. Staufman, whom I just noticed until now is SS, declares his authority over the colonel in recapturing the prisoners. Later Staufman further announces that his plan is to shoot them, against Richter's objections. Back in the wilderness, Moxey, Doc, and Baby are still assembled for their hike. When Baby talks about staying in touch after the war, it's understandable to anticipate that they're all doomed. Immediately afterward they're found by a patrol and Baby gets shot up subduing them. Doc and Moxey make it to the bombed-out church, where Savage and the other guy involved in the escape, a British lieutenant named Forrester (James Forrest), are waiting. The nighttime bombing raid has started as Richter and Staufman arrive in town. When the two of them are alone taking shelter, Richter pulls his Luger on Staufman and shoots him, declaring that there must still be rules in war. Forrester is shot trying to peek out of the church's basement. Richter calls out for the escaping prisoners' surrender, but Doc produces a couple of potato mashers, with which they temporarily clear the coast, though Ricther comes out of the church behind them. A game of cat and mouse ensues in the burning village in which Savage manages to take down Richter. Surprisingly, Moxey and Doc make it out on the fishing boat with him, carrying a surviving Forrester.

The coda has Savage and Doc safely on the deck of a British destroyer. When Doc declares that Savage won his private war with Richter, Savage ends the episode on a sobering note: "Nobody ever wins a war. Some just lose more than others."

According to the credits, Stephen Brooks (Garrovick from "Obsession") was in this as a Lt. Smith, but I couldn't find him even going back to look for him. I had a hard time keeping all of the dark-haired white guys straight in this two-parter.

I'm not sure what the reasoning was for the escapees mostly being Savage and his bomber crew. From the escape attempt made in Part 1, it seems like other men who'd been in the camp longer would take precedence.

_______

Elvis calendar.jpg

That's a decent cover.
I'm split on this...it's a groovy arrangement in its own right, but also an obvious attempt at a soundalike of "Hang On Sloopy".

I always get a kick out of this one. :rommie:
This one goes back a ways with me. When I started listening to Top 40 radio on my own initiative as I was entering my teens, the local station played a '60s retro program after Casey Kasem on Sunday, which exposed me to some '60s material, including this one...a brick on the road to my interest in the era. And it's got a pretty nice sound for country of the era.

There's the good stuff.
From what I recall, this is pretty much it for you, right? :p

This is good, too. And sounds like the 50s. :D
I wouldn't go that far back. It sounds post-Invasion, but also a tad out of date for the developing music scene at this point. I'm a little surprised that this song got to #1 at this point.

FYI, I've fallen a couple days behind in my viewing, distracted by this very interestingly historic week. Perhaps I should take the entire week off for my birthday when it coincides with a presidential election.
 
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As the plan commences....
It's a very complicated plan. They should have just built some tunnels and remained there to win the war from behind enemy lines.

Richter has been wounded by gunfire from his men, and Moxey argues for putting him out of his misery so he can't help blow their plan when found, but Savage disagrees.
No executions under Savage's watch.

Richter himself questions why Savage is choosing to let him live. Savage takes Richter with him on his hike through the wilderness, slowing him down, and chatting a bit about Richter's career trajectory. Richter sees in Savage's compassion an opportunity to still win their private war.
Savage already won in the last paragraph.

When the two of them are alone taking shelter, Richter pulls his Luger on Staufman and shoots him, declaring that there must still be rules in war.
I think he just broke one of them.

A game of cat and mouse ensues in the burning village in which Savage manages to take down Richter.
This is disappointing, because the story was built on the complex interactions of the characters and I was expecting more from Richter.

Surprisingly, Moxey and Doc make it out on the fishing boat with him, carrying a surviving Forrester.
It is surprising. Just as killing Staufman sealed Richter's fate, storywise, I thought Moxey advocating the murder of Richter sealed his fate.

When Doc declares that Savage won his private war with Richter, Savage ends the episode on a sobering note: "Nobody ever wins a war. Some just lose more than others."
Always true.

A puzzle! I get it, though-- still a few years till the comeback.

I'm split on this...it's a groovy arrangement in its own right, but also an obvious attempt at a soundalike of "Hang On Sloopy".
I liked the sound, but I didn't make the connection to "Sloopy."

This one goes back a ways with me. When I started listening to Top 40 radio on my own initiative as I was entering my teens, the local station played a '60s retro program after Casey Kasem on Sunday, which exposed me to some '60s material, including this one...a brick on the road to my interest in the era. And it's got a pretty nice sound for country of the era.
Yeah, it's funny without crossing into novelty territory, I think.

From what I recall, this is pretty much it for you, right? :p
Now that you mention it, I think so.

FYI, I've fallen a couple days behind in my viewing, distracted by this very interestingly historic week. Perhaps I should take the entire week off for my birthday when it coincides with a presidential election.
Every election I say I'll just go to bed and check the results in the morning, and every time I end up awake all night. This year it's more like all week. At least the news keeps getting better. :rommie:
 
50 Years Ago This Week

Wiki said:
November 8
  • Egypt, Libya and Sudan announce their intentions to form a federation.
  • Tom Dempsey, who was born with a deformed right foot, sets a National Football League record by kicking a 63-yard field goal to lift the New Orleans Saints to a 19–17 victory over the Detroit Lions at Tulane Stadium.
  • The British comedy television series, The Goodies debuts on BBC Two.
November 9
  • The Soviet Union launches Luna 17.
  • Vietnam War: The Supreme Court of the United States votes 6–3 not to hear a case by the state of Massachusetts, about the constitutionality of a state law granting Massachusetts residents the right to refuse military service in an undeclared war.
  • The blues rock studio double album Layla and Other Assorted Love Songs, the only album by Derek and the Dominos, is released, initially in the United States, the first presentation of the classic title track, "Layla", by English guitarist Eric Clapton and American drummer Jim Gordon.
Mark Lewisohn's The Beatles Day by Day said:
November 11 – A daughter, Lee Parkin Starkey, is born to Ringo and Maureen at Queen Charlotte's Hospital, London.
Wiki said:
November 12 – Soviet author Andrei Amalrik is sentenced to three years for 'anti-Soviet' writings.
November 13
  • 1970 Bhola cyclone: A 120-mph (193 km/h) tropical cyclone hits the densely populated Ganges Delta region of East Pakistan (now Bangladesh), killing an estimated 500,000 people (considered the 20th century's worst cyclone disaster). It gives rise to the temporary island of New Moore / South Talpatti.
  • Hafez al-Assad comes to power in Syria, following a military coup within the Ba'ath Party.
November 14
  • Southern Airways Flight 932 crashes in Wayne County, West Virginia; all 75 on board, including 37 players and 5 coaches from the Marshall University football team, are killed.
  • The Soviet Union enters the International Civil Aviation Organization, after having resisted joining the UN Agency for more than 25 years. Russian becomes the fourth official language of the ICAO.



Selections from Billboard's Hot 100 for the week:
1. "I'll Be There," Jackson 5
2. "We've Only Just Begun," Carpenters
3. "Fire and Rain," James Taylor
4. "I Think I Love You," The Partridge Family
5. "Indiana Wants Me," R. Dean Taylor
6. "Green-Eyed Lady," Sugarloaf
7. "The Tears of a Clown," Smokey Robinson & The Miracles
8. "Somebody's Been Sleeping," 100 Proof (Aged in Soul)
9. "Gypsy Woman," Brian Hyland
10. "It Don't Matter to Me," Bread
11. "Cry Me a River," Joe Cocker
12. "All Right Now," Free
13. "Montego Bay," Bobby Bloom
14. "Cracklin' Rosie," Neil Diamond
15. "Super Bad (Pt. 1 & Pt. 2)," James Brown
16. "Lola," The Kinks
17. "Candida," Dawn
18. "Still Water (Love)," Four Tops
19. "Engine Number 9," Wilson Pickett
20. "Heaven Help Us All," Stevie Wonder
21. "It's Only Make Believe," Glen Campbell
22. "You Don't Have to Say You Love Me" / "Patch It Up", Elvis Presley
23. "Express Yourself," Charles Wright & The Watts 103rd Street Rhythm Band
24. "Stand by Your Man," Candi Staton
25. "See Me, Feel Me," The Who
26. "Yellow River," Christie
27. "Deeper & Deeper," Freda Payne
28. "Share the Land," The Guess Who
29. "Look What They've Done to My Song, Ma," The New Seekers feat. Eve Graham
30. "5-10-15-20 (25-30 Years of Love)," The Presidents
31. "Let's Work Together," Canned Heat

33. "El Condor Pasa (If I Could)," Simon & Garfunkel
34. "Our House," Crosby, Stills, Nash & Young
35. "After Midnight," Eric Clapton

37. "Lucretia Mac Evil," Blood, Sweat & Tears
38. "For the Good Times," Ray Price

41. "One Less Bell to Answer," The 5th Dimension
42. "No Matter What," Badfinger

48. "Stoned Love," The Supremes
49. "Fresh Air," Quicksilver Messenger Service
50. "Does Anybody Really Know What Time It Is?," Chicago

54. "He Aint Heavy...He's My Brother," Neil Diamond
55. "Black Magic Woman," Santana

59. "Be My Baby," Andy Kim
60. "Only Love Can Break Your Heart," Neil Young

70. "Stoney End," Barbra Streisand

78. "Pay to the Piper," Chairmen of the Board
79. "Groove Me," King Floyd

85. "Domino," Van Morrison

92. "We Gotta Get You a Woman," Runt


95. "Amos Moses," Jerry Reed
96. "Beaucoups of Blues," Ringo Starr

100. "It's Impossible," Perry Como


Leaving the chart:
  • "Ain't No Mountain High Enough," Diana Ross (14 weeks)
  • "Julie, Do Ya Love Me," Bobby Sherman (15 weeks)
  • "Out in the Country," Three Dog Night (11 weeks)

New on the chart:

"We Gotta Get You a Woman," Runt
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(#20 US)

"Pay to the Piper," Chairmen of the Board
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(#13 US; #4 R&B; #34 UK)

"It's Impossible," Perry Como
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(#10 US; #1 AC; #4 UK)

"Domino," Van Morrison
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(#9 US)

"Black Magic Woman," Santana
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(#4 US; #29 AC)


And new on the boob tube:
  • Hogan's Heroes, "Eight O'Clock and All Is Well"
  • Rowan & Martin's Laugh-In, Season 4, episode 9
  • Hawaii Five-O, "The Late John Louisiana"
  • Ironside, "Too Many Victims"
  • The Odd Couple, "Oscar the Model"
  • The Brady Bunch, "A Fistful of Reasons"
  • The Partridge Family, "But the Memory Lingers On"
  • That Girl, "That Cake"
  • Love, American Style, "Love and the Fur Coat / Love and the Trip"
  • Mission: Impossible, "The Amateur"
  • The Mary Tyler Moore Show, "Bob and Rhoda and Teddy and Mary"

_______

Savage already won in the last paragraph.
Not necessarily from the Nazi camp commandant perspective... :lol: And one could argue the other way when Savage shot the guy whom he didn't know had saved him from being shot.

This is disappointing, because the story was built on the complex interactions of the characters and I was expecting more from Richter.
Part 1, maybe. Part 2 was more the Great Escape episode. The good beats in the private war between Richter and Savage you saw in Part 1.

It is surprising. Just as killing Staufman sealed Richter's fate, storywise, I thought Moxey advocating the murder of Richter sealed his fate.
Eh, somebody's gotta bring up the other option so we know how noble Savage is being. (And see what I did there?)

A puzzle! I get it, though-- still a few years till the comeback.
Had you not been able to guess, an image or video search of just the date would have proved enlightening.

Now that you mention it, I think so.
A Brown-noser you ain't. :p

Every election I say I'll just go to bed and check the results in the morning, and every time I end up awake all night. This year it's more like all week. At least the news keeps getting better. :rommie:
It seems to be a common syndrome this week. And yet I'll probably still get you this week's reviews before we get results from Nevada... [ETA: Whoops!]
 
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"We Gotta Get You a Woman," Runt
An Oldies Radio classic.

"Pay to the Piper," Chairmen of the Board
Not very memorable. I thought these guys were a one-hit wonder (I suppose in the long that's true).

"It's Impossible," Perry Como
It's impossible not to like this.

"Domino," Van Morrison
Classic.

"Black Magic Woman," Santana
Classicer.

Not necessarily from the Nazi camp commandant perspective... :lol:
Well, yeah. :rommie:

Part 1, maybe. Part 2 was more the Great Escape episode. The good beats in the private war between Richter and Savage you saw in Part 1.
I don't know, it just made me feel like the characterization was wasted.

Eh, somebody's gotta bring up the other option so we know how noble Savage is being. (And see what I did there?)
I do see. :rommie:

Had you not been able to guess, an image or video search of just the date would have proved enlightening.
I did confirm it, but I figured that had to be it.

A Brown-noser you ain't. :p
Heh.

It seems to be a common syndrome this week. And yet I'll probably still get you this week's reviews before we get results from Nevada... [ETA: Whoops!]
The news broke on my app in the middle of Highway Patrol. We'll have to finish that episode next week, because my Mother was literally shaking with relief. She had this terrible fear that she would die with The Donald still in office.
 
_______

50th Anniversary Viewing (Part 1)

_______

Hogan's Heroes
"Kommandant Schultz"
Originally aired November 1, 1970
Wiki said:
Absolute power corrupts instantly when Schultz is given full command of Stalag 13.

The prisoners are repairing a road when a cart stops near them and they take a package and a man out of the back--slipping the latter in with the workers--while Schultz talks to the farmer. Back in the tunnel, the contact, Hercules (Eric Morris), explains how the package is a block partially composed of uranium, and that he has a large number of atomic research locations memorized. Meanwhile, in Klink's office, Burkhalter delivers an order from Hitler that senior NCOs be given command training by turning over camp commands to them. This means Schultz, and Klink is to act as his advisor. Schultz confides in Hogan about his lack of confidence in his command ability, and Hogan gives him a little pep talk about the little engine that could.

Once in command, Schultz sports a monocle and swagger stick, and the prisoners are surprised at how quickly he takes to becoming a stern commandant, which includes increasing security considerably, interfering with their plans to smuggle Hercules out. Afraid that this might become a longer-term assignment, the prisoners decide that Schultz has to be discredited as a commandant, so Hogan goes to Klink with the idea that they're putting Schultz in his place so they can send him to the Russian front.

Newkirk and LeBeau smuggle Hercules to an airfield pickup at night, and Schultz's replacement discovers that the prisoners are missing in the morning. Schultz has to face Burkhalter over this, and is relieved of command. Klink takes a little too much pleasure out of divesting Schultz of his rank, which includes crushing his monocle and breaking his stick; then puts Schultz on extra duty. But when he tries to lean back in his chair, Klink discovers that a spring has been broken. Hogan persuades Klink to lighten up on Schultz in exchange for helping Klink find the escaped prisoners. Newkirk and LeBeau are found living it up at a pub in Hammelburg when Klink and his men come in with Hogan to apprehend them.

In the coda, Hogan explains to Klink how the prisoners must have pole-vaulted over the fence, and convinces Klink to try it himself.

DIS! MISSED! (Schultz style)

_______

The Ed Sullivan Show
Season 23, episode 7
Originally aired November 1, 1970
As represented in The Best of the Ed Sullivan Show

Ed said:
Now, from the Broadway hit muscial Purlie, Melba Moore!
Melba sings the title song from said musical. I just noticed here that the stage looks very different this season.

Ed said:
Now here is the pride of Peoria...Richard Pryor!
Now sporting a Van Dyke, Pryor jokes about being raised in the ghetto, which includes a swipe at how Elvis sang the word. He goes into an extended imitation of his father deferring to the police and drinking with winos.

Ed said:
A great!...country music recording star, Hee-Haw's Roy Clark!
Clark performs his current single "Thank God and Greyhound, You're Gone" (charted Oct. 31, 1970; #90 US; #6 Country):
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Ed said:
Once again, Melba Moore!
Moore brings some strong vocal chops to her turn at covering "He Ain't Heavy, He's My Brother".

_______

Rowan & Martin's Laugh-In
Season 4, episode 8
Originally aired November 2, 1970
The Wiki list of guest appearances said:
Carol Channing, Jilly Rizzo

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One of the odd one-liners before a commercial is "Frodo Baggins lives" (delivered by Nancie Phillips).

This week's Quickies:
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Laugh-In's Salute to Mom (already in progress here):
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A Gladys and Tyrone skit.

One of the cocktail party bits.

The closing Joke Wall:
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_______

Hawaii Five-O
"The Reunion"
Originally aired November 4, 1970
Wiki said:
A millionaire Japanese businessman is accused by three former prisoners of war of having been the officer responsible for torturing them during World War II. Simon Oakland guest stars.

The episode opens with Tatsu Shigato (You Only Live Twice's Teru Shimada) in a tour group snapping pictures of Diamond Head...but some of the guys on the bus are snapping pictures of him...and the guy who develops them has a rifle! Somebody sends him the pictures, complete with crosshairs, so Five-O gets involved. While they're still at his home, he gets in his car and you can see the requisite car bomb coming a mile away...but it's preceded by a smoke bomb, meant to scare him. Nobody brings up Blofeld as a suspect...he's still out there at this point.

At a 15th Airborne reunion, we meet Frank Epstein (Simon Oakland) and camera-owning Mitch Bradley (Joe Maross) drinking together, and they run into Mike Holt (Barry Atwater), now a successful businessman. Frank, who uses forearm crutches because of a missing leg, harbors some serious grudges regarding their experience as POWs in the Philippines 25 years ago; while Mitch seems more timid. Frank spots Shigato and is genuinely surprised, identifying him as Rashiri and attacking the man with his crutches. Danno's there to pull him off.

Epstein insists that Shigato was the commandant of the prison camp they were held in; but Holt insists that Rashiri killed himself and his body was found. We learn that all three prisoners were interrogated for intel, and Holt was the only one who spilled his guts, for which Epstein resents him. Bradley is so traumatized by the experience that he has to be forced to look at Shigato, upon which he agrees that he's Rashiri. McGarrett asks Shigato to submit to a fingerprinting so that they can prove he's not Rashiri. Holt later approaches Shigato in a civil manner, but once they're alone, makes clear that he, too, knows that Shigato is Rashiri, and harbors a vendetta...which includes owning Shigato's company. From a higher vantage point, somebody has them in his crosshairs...mid-episode wave!

Shots are fired, Surak goes down, and Mitch is found in shock in the sniper's nest. In his room they find boatloads of evidence, including the rifle and a photo enlarger. McGarrett questions Shigato, who insists that he's a native of the Philippines whose village was slaughtered by the Japanese. Holt dies and Bradley is charged with Murder One. Mitch describes how he had an attack and blacked out on the balcony, insisting that the rifle and photo enlarger aren't his. Alone with Frank, Mitch tells him how Mike didn't spill his guts to save himself, but to save the two of them.

McGarrett, skeptical that Bradley did it, finds that one of the photos taken of Shigato has Mitch in it. In his office, Steve shows Epstein that Shigato's fingerprints don't match Rashiri's. Examining photos that Bradley took, McGarrett finds that one of them includes a man McGarrett recognizes as a paid killer, Llacuna (Daws Dawson)...who soon calls Epstein claiming to have information about who killed Holt. After Epstein is on his way to a rendezvous, Llacuna is talking to his employer on the phone and is paid off via bomb. McGarrett figures out that Shigato's behind it all, and tries to call Chin Ho, who's watching Shigato but is knocked out by him.

At the rendezvous, Shigato/Rashiri confronts Epstein at gunpoint and describes his plan to frame him. He blames his former prisoners for exposing him as a coward who couldn't take the honorable way out for his inability to break them. By the time Steve gets there, Epstein has tripped Shigato and taken his gun. Shigato tries to make himself look like the victim, but McGarrett believes Frank. Then Shigato walks up to the gun and tries to taunt Epstein into killing him, but McGarrett talks Epstein down.

_______

An Oldies Radio classic.
Todd Rundgren's debut hit, released under a temporary band name. A low-key classic.

Not very memorable. I thought these guys were a one-hit wonder (I suppose in the long that's true).
The forgotten follow-up hit is a common phenomenon.

It's impossible not to like this.
Out of deference to the fact that I briefly knew a couple of Perry's granddaughters in college, I've decided not to make the usual grandma-oriented crack.

Oldies radio classic, s'alright.

Classicer.
Now in classicer single edit form.

After having CNN on all weekend, I just popped on Decades, which is doing a Dean Martin Celebrity Roast Binge.

Ronald Reagan (about Bob Hope): He's entertained six presidents. He's performed for twelve.
Neil Armstrong and Omar Bradley are in this one.
 
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Back in the tunnel, the contact, Hercules
"By Zeus, thine tunnels are cramped. Hast thou mead?"

Schultz has to face Burkhalter over this, and is relieved of command.
And sent to the Russian front.

Newkirk and LeBeau are found living it up at a pub in Hammelburg when Klink and his men come in with Hogan to apprehend them.
Somehow I don't think either Schultz or the guys would get out of this without getting shot. :rommie:

Clark performs his current single "Thank God and Greyhound, You're Gone"
Nice. I never heard this one before. :rommie:

One of the odd one-liners before a commercial is "Frodo Baggins lives" (delivered by Nancie Phillips).
Wouldn't want him to be confused with some other Frodo.

Nobody brings up Blofeld as a suspect...he's still out there at this point.
Bond and Five-0 would make for a nice crossover.

Mike Holt (Barry Atwater)
Janos Skorzeny, the vampire from Night Stalker, in addition to Surak. And Simon Oakland, of course, was Vincenzo.

Epstein insists that Shigato was the commandant of the prison camp they were held in
It always amazes me how close we still were to WWII then. It seemed like ancient history at the time.

At the rendezvous, Shigato/Rashiri confronts Epstein at gunpoint and describes his plan to frame him. He blames his former prisoners for exposing him as a coward who couldn't take the honorable way out for his inability to break them.
Nice twisty plot, but did they ever explain the fingerprints?

Todd Rundgren's debut hit, released under a temporary band name.
Cool. I did not know that.

The forgotten follow-up hit is a common phenomenon.
That is true.

Out of deference to the fact that I briefly knew a couple of Perry's granddaughters in college, I've decided not to make the usual grandma-oriented crack.
Wow, that's pretty cool. Fairly cool. It's kinda cool.

After having CNN on all weekend, I just popped on Decades, which is doing a Dean Martin Celebrity Roast Binge.
Celebrity Roasts are something that you don't see anymore. I suppose unrelenting Internet hatred makes them redudant. They never really thrilled me much anyway, although they were filled with plenty of good zingers.
 
_______

50th Anniversary Viewing (Part 2)

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Ironside
"Check, Mate; and Murder: Part 2"
Originally aired November 5, 1970
Wiki said:
Ironside's trip to Montreal continues as he gets involved in a murder plot while searching for a stolen chess set.

I thought we'd be getting away with no recap again, but in this case they show us a new teaser scene before going into one...and show some odd flashes from last week as the plot proceeds. Ironside learns that an insurance agent named Bollinger left a message for Gauthier before his death via bombing. Ed and Eve talk to Carl Shiller (John Van Dreelen), who owned the set and tells them that he was recently sent the pawn as part of a ransom attempt. They ask him to proceed with the ransom. The Chief deduces that the thieves were amateurs because of the lack of underworld knowledge about the theft, and that they were after something besides the pawn when they ransacked Gauthier's room. A fascinated Ernestine Mugford tries to keep up, taking notes...

Ernestine: You're magnificent, Bob!
Bob: That's true.​

The Chief and Rousseau make a list of likely talent and show their pictures to the assembled convention attendees, one of whom saw a man identified in Rousseau's files as Arnold Beckman (William Lanteau) at the hotel. Bob later starts beating up Frank over his lack of investigative results, after having already put his own team to work out of their jurisdiction.

At dinner, Bob presses Jeanine for more info on why she lied to break up with him, and she reluctantly explains that she was already engaged at the time, and was considering breaking it off, but then discovered she was pregnant by her fiance. Later Bob beats himself up over having believed her when she told him that she didn't love him twenty years ago.

Beckman assassinates a young man via bomb, while the victim is calling Shiller about his ransom response. He's too young to have been involved in the theft, so the team assumes that he stole the set from the thief. Ironside focuses on how the pawn was packed, which was minimally, in plain white paper. This leads to attempting to find a stationery store that Gauthier may have visited as part of his own investigation. Eve finds the type of stationery that Gauthier was looking into and a list of wealthy customers who use it. The youth is identified as an employee of Leon Karp (Herbert Anderson), who's also a buyer of the stationery and shows signs of being into chess. He acts ignorant of the stolen set, but Ironside suspects he was involved in the robbery.

In the meantime, the MPD with Ed tagging along apprehend Beckman and the set. Ed, who's been snooping around the docks undercover, takes Beckman's place to find out who stole the set in the first place. Elsewhere, Claudette tries to talk Robert out of his assignment to set a bomb at the St. Jean Baptiste parade, attempting to persuade him that Pierre Bouver is just an anarchist, not a Separatist. Robert gets very upset when he finds out that his mother plans to take Ironside to the parade. Robert asks Bob if he'd ever killed anyone. The night before the parade, Robert proceeds to plant his bomb under the reviewing stand.

Ed takes a call while posing as Beckman and agrees to a payment rendezvous for the set. Ironside recruits the criminologists again to stake out the exchange. Ed fake drops off the set at an arranged place where he finds the payment, then nabs Karp picking up the set. Meanwhile, Bob has gotten a call from Jeanine, Claudette having told her what Robert's doing. At the Bombmakingcave, Robert tells Bouver that he called the police, and that he didn't set the bomb, because they're supposed to terrorize, not kill. Then Henri comes in and says that he went to where the bomb was placed and set the detonator. Ironside & co. arrive, Mark faces down an armed Henri, and Robert tells them where the bomb is. Robert goes to the bomb and defuses it.

TI is seen off at the airport by Frank, Ernestine, and Jeanine. Jeanine thanks Bob, who in turn asks her to come to San Francisco, though without a flower-wearing stipulation, then says au revoir. IMDb confirms what I automatically assumed, that we'll never see her again.

_______

The Odd Couple
"I Do, I Don't"
Originally aired November 5, 1970
Wiki said:
When Felix recalls his marriage and divorce, he causes a bridegroom to get cold feet and call off his wedding. Joyce Van Patten guest stars.

The episode opens with Felix in top hat and tails, leaving for a wedding where he's the best man. Later, as Oscar tries to enjoy some indoor golf, the bride, Phyllis (Joyce Van Patten), shows up at door and slaps Oscar, mistaking him for Felix through her veil. She accuses Felix of having ruined her wedding by causing the groom, Harvey (George Furth), to not show up. She describes herself as 30 and desperate, seeing this as her last shot. Phyllis relates the events of the rehearsal the night before via flashback. Felix fusses over details of ceremony, then during the exchange of vows, he starts crying (something Oscar had told him not to do before he left) and tells everyone about the circumstances of his own marriage and divorce, bringing them all down.

In the present, Felix returns to the apartment, telling Phyllis that he went looking for Harvey. Phyllis goes to lie down and shrieks in horror at Oscar's room. Felix found Harvey at a movie theater, and sends Oscar to try to talk to him. At the theater, Oscar learns that Harvey's decision was influenced by him having seen A Man and a Woman with Phyllis, which made him feel that their relationship fell short. Oscar convinces Harvey to go see Phyllis, but she no longer want to marry him, influenced by how, which Oscar was gone, Felix showed her the transcript of his divorce.

Felix and Oscar go to the employment office where Phyllis and Harvey both work. She thinks that Harvey won't last because he's too spineless and easily influenced. She confronts him and he waffles, blowing his chance. The guys encourage Harvey to get aggressive and go after her. He yells for her and then tells her off, which wins her heart, and the couple kisses.

The episode ends with Oscar and Felix going to seen the film that Harvey was watching, which might have been A Man and a Woman, but I wasn't clear on that.

_______

The Brady Bunch
"The Treasure of Sierra Avenue"
Originally aired November 6, 1970
Wiki said:
The boys discover a wallet containing $1,100 in a vacant lot. The girls want a share of the money but the boys refuse, causing tension between the groups. Mike and Carol tell the kids that they must turn the wallet in to the police. In the process, the boys learn that honesty and integrity are more important in life than "finders keepers".

Guest star: Victor Kilian as Mr. Stoner

The boys are playing football against an imaginary other team when Bobby finds the wallet while going after the ball. They count the money up at home in front of Carol and Alice, and Carol can't find any ID in the wallet. She calls Mike and has Greg talk to him; Mike's so preoccupied that he doesn't realize what Greg has told him until after he hangs up. The girls figure that it should be split equally six ways--$183.33 for each; but the boys are only planning to split it three ways. Mike intervenes in the ensuing squabble, taking the wallet to turn it into the police dept. The girls are happier about this solution than the boys. Afterward, the boys and girls still won't talk to each other, airing their grievances with each other via Alice.

Greg sees an ad in the paper for a lost wallet, with a reward involved. Still standing to keep the money if nobody claims the wallet, he and Peter are torn, but decide to call. They're happy to learn that the wallet in question only had $220 in it, but Mike listens in and is glad that they chose to make the call. He tells them that he put an ad of his own in the paper about the wallet. The boys aren't happy about this turn, and as one might expect, they get lots of calls about it, including one involving a sob story that seems to have Alice in tears, though it turns out she was interrupted while peeling an onion. None of the callers correctly identify the wallet and its contents, making the boys hopeful. Mike is concerned that all the boys can think about lately is the money. Meanwhile, the feud between the boys and girls continues, with the girls retaliating by refusing to share anything with the boys. Mike and Carol call a meeting to put an end to it, and with all the kids properly chastised, the boys agree to share the money. Then they all get worked up over the idea that they'll be getting the money after all.

The kids have starting making arrangements for what they'll spend the money on when Mike gets a call informing him that the wallet was claimed at the police station. The kids are upset to have lost their claim to the money, but the elderly man who claimed it, Mr. Stoner, visits the house, telling Carol how it was his and his wife's hard-saved vacation money. He offers the kids a $100 reward, but with Mike hovering over them, they refuse, ultimately agreeing to a reduced reward of $20. The parents are pleased to hear that the boys still intend to split the reward six ways.

_______

The Partridge Family
"Danny and the Mob"
Originally aired November 6, 1970
Wiki said:
While performing in Las Vegas, Danny tutors the beautiful girlfriend of a mob boss in finances so she can leave town and finds himself with a new hit but one that has nothing to do with music.

Guest Stars: Pat Harrington Jr. as Harry, Barbara Rhoades as LaVon LaVerne, Richard Bakalyan as Skee, Vic Tayback as Rocco

Song: "That'll Be the Day"

The episode opens with the group rehearsing the above-mentioned song for a performance, but Chris is drumming too fast because a strobe light on the stage is throwing him off. The rest of the family is surprised when LaVon shows up to go off with Danny. It turns out that he's serving as her stock advisor. (Seeing Danny, a man at the exchange mentions Sesame Street.) Upset with his girlfriend's activities but never having seen Danny, Harry sends Skee and Rocco to lean on him. After a confrontation near the hotel pool, Danny--still in his bathing suit and duck floatie--goes to see a police inspector (I presume Chavez, played by Julio Medina), who doesn't take him seriously. Danny then goes to Kincaid to try to persuade him to have the band leave town. When Reuben refuses based on their gig obligation, Danny asks for help writing his will.

Danny starts taking precautions, making Shirley wonder what's wrong, and she learns about the will from Reuben. Shirley brings over LaVon, who received an anonymous telegram, and Danny runs at the sight of her. While Shirley and Reuben are pursuing him, Harry shows up and LaVon finds out that he's after Danny, and tries to tell Harry that he's 10. When they discover that it's the truth, Harry and his hoods seem to genuinely regret the misunderstanding, and Harry sends the boys to find Danny in order to make amends. A muscial sequence ensues as all of the adults pursue Danny.
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The hoods finally nab Danny and bring him back to the assembled others, including Chavez, who wants to arrest the mobsters...but Danny puts in a good word for them, Skee and Rocco having explained things to him. As an alternative, Danny arranges for a shotgun wedding of Harry and LaVon. (Not sure how that would satisfy the law, but whatever.)

_______

"By Zeus, thine tunnels are cramped. Hast thou mead?"
:D

And sent to the Russian front.
Nah, they never get sent to the Russian front.

Somehow I don't think either Schultz or the guys would get out of this without getting shot. :rommie:
The Geneva Conventions stipulate that it's a prisoner of war's duty to try to escape, but being involved in espionage would allow them to be executed (or so these shows tell me). And Schultz just had a couple of prisoners escape during his command.

Nice. I never heard this one before. :rommie:
It is kinda cute. Except for the mode of transportation, it could be the other side of "Leaving on a Jet Plane". :lol:

Bond and Five-0 would make for a nice crossover.
We'll have to settle for Jack Lord being Felix Leiter in Dr. No.

It always amazes me how close we still were to WWII then. It seemed like ancient history at the time.
See also General Omar Bradley appearing in a Dean Martin Celebrity Roast in the '70s.

Nice twisty plot, but did they ever explain the fingerprints?
I believe it was mentioned that the files they checked against could have been tampered with.

Celebrity Roasts are something that you don't see anymore. I suppose unrelenting Internet hatred makes them redudant.
I'm not seeing the equivalence, as the roasts consisted of good-natured ribbing from the celebrity's friendly peers.

FWIW, these had disclaimers added at the beginning about how they were made in the '70s and contained humor based on outdated cultural norms or somesuch.
 
Ernestine: You're magnificent, Bob!
Bob: That's true.​
Raymond Burr was very good at that. :rommie:

Later Bob beats himself up over having believed her when she told him that she didn't love him twenty years ago.
It does seem out of character. :rommie:

attempting to persuade him that Pierre Bouver is just an anarchist, not a Separatist.
That has an air of familiarity.

Ed fake drops off the set at an arranged place where he finds the payment, then nabs Karp picking up the set.
Seriously, why do people even bother?

Jeanine thanks Bob, who in turn asks her to come to San Francisco, though without a flower-wearing stipulation
:rommie:

then says au revoir. IMDb confirms what I automatically assumed, that we'll never see her again.
I do prefer episodic TV, but I often wish there were more sequel episodes.

The episode opens with Felix in top hat and tails, leaving for a wedding where he's the best man.
The guy must have a real shortage of friends. :rommie:

Felix showed her the transcript of his divorce.
Which Felix had bound and calls The Felixomicon.

"The Treasure of Sierra Avenue"
"Bradys? We don't need no stinking Bradys!"

The girls figure that it should be split equally six ways--$183.33 for each; but the boys are only planning to split it three ways.
I'm surprised Bobby wants to split it at all. :rommie:

The parents are pleased to hear that the boys still intend to split the reward six ways.
I calculate that this comes out to sixteen comic books apiece.

Who is Schneider from One Day At A Time.

Danny asks for help writing his will.
I wonder who gets the duck floatie.

A muscial sequence ensues as all of the adults pursue Danny.
Was there a long corridor shot with everybody running improbably in and out of doors?

As an alternative, Danny arranges for a shotgun wedding of Harry and LaVon. (Not sure how that would satisfy the law, but whatever.)
There seems to be all sorts of things wrong with that ending. :rommie:

Nah, they never get sent to the Russian front.
I think Burkhalter secretly likes them.

It is kinda cute. Except for the mode of transportation, it could be the other side of "Leaving on a Jet Plane". :lol:
:rommie:

We'll have to settle for Jack Lord being Felix Leiter in Dr. No.
Oh, yeah....

See also General Omar Bradley appearing in a Dean Martin Celebrity Roast in the '70s.
Okay, that's certainly interesting. As Roaster or Roastee?

I'm not seeing the equivalence, as the roasts consisted of good-natured ribbing from the celebrity's friendly peers.
I recall a lot of it having an undercurrent of meanspiritedness, which is one reason I was lukewarm to them, but maybe it was just me.

FWIW, these had disclaimers added at the beginning about how they were made in the '70s and contained humor based on outdated cultural norms or somesuch.
Yeah, that's becoming very common. Apparently people can't figure these things out for themselves. :rommie:
 
Raymond Burr was very good at that. :rommie:

Raymond: Yes, I was.​

I do prefer episodic TV, but I often wish there were more sequel episodes.
Or a recurring love interest.

Who is Schneider from One Day At A Time.
I did not realize that and never would have recognized him!

I wonder who gets the duck floatie.
The hoods were threatening to deep six it.

Was there a long corridor shot with everybody running improbably in and out of doors?
Nope, they were just running around out of doors.
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There seems to be all sorts of things wrong with that ending. :rommie:
She was for it, FWIW.

I think Burkhalter secretly likes them.
No, Burkhalter's just trying to win the war.

Oh, yeah....
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Okay, that's certainly interesting. As Roaster or Roastee?
You must have missed my line about him and Neil Armstrong being in the one that I quoted from. They were attendees, but I didn't catch if they spoke.

I recall a lot of it having an undercurrent of meanspiritedness, which is one reason I was lukewarm to them, but maybe it was just me.
I think that's you...I don't get that vibe at all.

Yeah, that's becoming very common. Apparently people can't figure these things out for themselves. :rommie:
The most infamous example I'm aware of is when they packaged early Sesame Street for home video with disclaimers that it wasn't suitable for modern children... :rolleyes: :rolleyes: :rolleyes:
 
"We Gotta Get You a Woman," Runt
I was a BIG Todd Rundgren fan. I thought, and still think, he is a great songwriter and one of the fortunate few with the gift of melody. His albums are filled with song after song with incredible melodic lines that most other professional songwriters would kill for.

I saw him live once and even though he came across as kind of arrogant, some great artists can’t help it, he still put on a helluva show.
Pay to the Piper," Chairmen of the Board
I remember this one well, but this is not General Johnson singing lead, is it? Lead singer sounds different.
"Domino," Van Morrison
Loved this song. Van Morrison is another of that small group of songwriters with the gift of melody which shows even in mid-tempo bluesy numbers like Domino. That little h n figure that pops up in the song is one of the more memorable of the rock era, IMO.
 
Raymond: Yes, I was.​
:rommie:

Or a recurring love interest.
Yeah, any kind of recurring plot or character elements. Next Generation kind of started to do that, but mostly just with Worf.

I did not realize that and never would have recognized him!
I also now realize that Vic Tayback was Mel on Alice. I knew I recognized that name.

Nope, they were just running around out of doors.
Not bad. The fire hydrant bit was good.

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Leiter and McGarrett must be emissaries from the same planet.

You must have missed my line about him and Neil Armstrong being in the one that I quoted from. They were attendees, but I didn't catch if they spoke.
It didn't click without the general in front, I guess. I know that Neil Armstrong hated public speaking. He once said something like, "There are two kinds of birds-- the kind that can talk and the kind that can fly. I'm the kind that flies." :rommie:

I think that's you...I don't get that vibe at all.
Well, it has been a long time since I've seen one.

The most infamous example I'm aware of is when they packaged early Sesame Street for home video with disclaimers that it wasn't suitable for modern children... :rolleyes: :rolleyes: :rolleyes:
Yeah, I can certainly see how an innovative, multi-cultural, multi-ethnic show that teaches kids lessons about how to get along and appreciate each other would be offensive to Millennials. :rommie:
 
_______

50th Anniversary Viewing (Part 3)

_______

That Girl
"There Sure Are a Bunch of Cards in St. Louis" (Part 2)
Originally aired November 6, 1970
Wiki said:
Ann is working in a play in St. Louis and has difficulties while visiting Don's parents. Former St. Louis Cardinals' outfielder Stan Musial appears as himself.

Mrs. Hollinger won't have Donald coming down for breakfast in his robe and pajamas while That Girl is in the house. They sure were a bunch of prudes before the Boomers. Tensions continue when Donald has to persuade his mother to actually refer to Ann by her name and Ann doesn't want a big breakfast.

It turns out that Donald just randomly runs into Stan Musial at a bar. While Ann doesn't know who he is or what team he's on, meeting him inspires her to accept a last-minute offer to fill in for the leading actress in her play in order to impress Donald's family. In rehearsal, Ann is acting against male lead Bill (Richard Schaal). She calls Donald to give him the news and tell him that she'll have to rehearse all day and night...which means that she'll be missing the surprise dinner with Aunt Belle (Ruth McDevitt), which Donald knows about the importance of but Ann doesn't. Ann manages to make it anyway, but only after Aunt Belle has made a fuss about her being late. It turns out that, feeling sorry for the lead actress's understudy, Ann gave up the leading role in order to make the dinner. And she's a big hit with Aunt Belle, which even causes Donald's mother to take a liking to her (laying it on a bit thick about how she always loved Ann...yeah, right).

The completely random coda has Ann and Donald back at her apartment playing a game about coming up with names to fit initials.

"Oh, Donald" count: 2
"Oh, John" count: 1
"Oh, Bill" count: 1 (in rehearsal)
"Oh, sweetheart" count: 1 (ditto)

_______

Love, American Style
"Love and the Decision / Love and the Haunted House"
Originally aired November 6, 1970

The one that I have here is "Love and the Haunted House," which seems to have aired a week late. It features Ruth Buzzi and Frank Sutton as Beverly and Walter, a couple who take refuge in the titular location during a rainstorm after their car has run out of gas. Beverly is creeped out by the locale, and accuses Walter of having staged the incident to get her alone in a dark place, but doesn't go so far as whacking him with her handbag. She finds a bedroom, complete with a...Do I need to say?...but insists that he sleep out in the living room as they're not married.

Walter has trouble with a window that opens and closes at will and a lamp that won't blow out; when he hears a wolf howl he starts to panic and wants to get into the bedroom with Beverly. At this point, she looks about ready to pull her bag, but lets him in anyway. He wants to sleep on the floor under the pretense of protecting her, but she won't have it and sends him back out, where he has trouble with the old fold-up bed that they apparently found there. Then the window, howls, and lamp all get going at once and he begs her to let him in, to no avail. After that he sees a chair move by itself and a door open and close. He ducks back into the room, and she wants to leave because of it. Then a voice calls out from outside, and they meet the home's owner (Vincent Price). He says that he's a justice of the peace, and tries to marry them right then and there so that they can share the room. They're a bit taken aback at the suddenness, but agree. The vows are exchanged and Walter wastes no time in carrying Beverly over the threshold. I almost missed the gag at the end, as the room was so dark and it looked like a fadeout except for the lamp that they made a point of keeping in frame...but after they're out of the living room, Vincent slowly vanishes.

_______

Mission: Impossible
"Decoy"
Originally aired November 7, 1970
Wiki said:
The IMF must spirit the daughter of the late premier of an Eastern-bloc country – and the secret dossier he gave her – to the west out from under the nose of her brother and the country's security chief, who knows of her desire to defect and wants the secret document, a list of moderate pro-Western officials.

In the teaser, Anna Kerkoska (Julie Gregg) walks in on her brother, Alexi (Paul Stevens), about to kill himself because the Party is after him. Desperate to save him, she decides to offer "the document" to the Americans for their help in defecting. But Alexi's suicide was a ruse...he's working with Police Chief Petrovitch (Michael Strong) in an attempt to get the document and entrap some American agents along the way.

The miniature reel-to-reel tape left in a backpack at a campground said:
Good morning, Mister Phelps. Before he died last year, Premier Kerkoska gave his daughter, Anna, a secret document containing the names of men within his government who privately favored friendly relations with the West. Word has reached us through diplomatic channels that Anna and her brother, Alexi, wish to defect. We know this is a plot devised by Alexi to acquire the document, and at the same time capture American intelligence agents, thereby embarrassing the West. In spite of this trap, your mission, should you choose to accept it, is to get the document and bring Anna Kerkoska to safety. 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.

The briefing clues us in that the IMF's plan involves taking the bait without springing the trap. Barney and Willy drive into the COTW with a truck full of "auto parts". Paris, disguised as an elder language teacher, visits the country as a tourist. Jim and Dana drive in as a well-to-do publisher and his sister. Paris contacts an undertaker, wanting to arrange a funeral for a hero of the revolution who fought with Premier Kerkoska. While Sid Haig and another agent watch her sitting in the square, Paris makes contact with Anna and begins to make arrangements. Jim then meets the Kerkoskas at a society party. Haig looks at a note that Paris has passed to Jim. Petrovitch listens in as Jim makes a fake call to Barney about a ransom for his sister. At a record shop, Jim makes a fake rendezvous with Paris in which Paris uses the sister as leverage to recruit Jim as a spy, in a plot that involves him fake pretending to be interested in writing a book about the late premier.

During a fakey outdoor walk (studio closeups superimposed over long shots of a couple walking outside), Anna bonds with Jim while telling him about her father having to execute counter-revolutionaries who were friends, and they kiss. Lying outside after dark, Anna tells Jim that she loves him. Petrovitch listens via a bug planted on Anna's purse as they talk about her defection plans and Jim's fake hostage sister situation. Later, Jim gets a ransom call while Anna is present, and Petrovitch is listening. The plan involves going to the funeral arranged by Paris, of a man named Danov. Anna packs her jewels and Paris prepares a mask of Alexi. Anna insists on bringing a cigarette box and not letting Alexi handle it, so Alexi assumes that the document is inside and wrests it from her. He finds a music box gadget inside and assumes that it contains the coded document, revealing his true motivations. Then Paris enters as Fake Alexi and Jim TV Fu's Real Alexi. Anna feels betrayed at the realization that Jim's an American agent, but he insists that he does love her.

At the funeral, which is under surveillance by Agent Haig, Undertaker Barney covertly kicks Jim & co. a package. Dana switches places with Anna, who gets under the coffin out in the corridor, and Jim switches places with Inflatable Emergency Auto-Pilot Jim, and also hides under the coffin. In the curtained private area, Petrovitch's men find Dana and Fake Alexi tied and gagged, saying that Anna has escaped and her rescuers have taken Jim against his will. Petrovitch pursues the hearse, from the back of which Barney releases a small, race car-style escape vehicle in which Jim and Anna race to the border, followed by Petrovitch's car. The vehicle is so small and low that it slips under the mined border gate that came up at the briefing. On the other side, Jim tells Anna that none of what he said was a lie, but now she says that she has to find herself because she's never known freedom...plus, y'know, it's the '70s, man.

_______

Adam-12
"Log 75: Have a Nice Weekend"
Originally aired November 7, 1970
Wiki said:
The officers discover a burglary ring in an upper-class neighborhood consisting of a group of young kids, with their victims all being women playing Bridge. Other calls include Reed being held hostage by a crazy woman, and breaking up a fight between a church organist and the choir director over the choice of music. Butch Patrick guest stars.

The officers' first call is to see a man about a female mental case; Reed approaches the door to be held at gunpoint by Anne White (Virginia Gregg!). She talks in a Western twang and identifies him as "Sheriff" while cautiously letting him inside. Malloy has the neighbor make a call to the house asking for Reed, and the innocuous phone conversation serves as a distraction while Malloy sneaks in behind Anne and disarms her. It turns out that the shot the neighbor had heard was her firing at an empty chair, thinking that she killed somebody sitting in it.

Next they're sent to investigate a 459. The caller is a Mrs. Green (Dorothy Shay), who saw a boy of about 12 escaping after stealing a necklace and fur. She directs the officers to the Foster house, thinking they may have been robbed as he went over their fence. Mrs. Foster (Norma Connolly) tells them that multiple friends of hers have been robbed lately. At the station, Mac notes that it's the twentieth theft fitting the pattern.

Back on patrol, the officers pull over for a fight between two men outside a church. The fight is over the organist (Sherwood Keith) always starting with "Onward, Christian Soldiers," to the chagrin of the choirmaster (Howard Morton). Reed suggests using "A Might Fortress" instead, and the opponents mutually disagree with his choice.

The officers respond to another 459 call, from Ruth Phillips (Ann Morrison), who had several pieces of jewelry stolen. She mentions that it was her bridge day, and that she saw two boys, one of whom looked like Eva Foster's son. Malloy asks her questions about the bridge schedule. At the Foster home, the door is answered by Mrs. Foster's mother, Mrs. Britton (Mona Bruns), as Foster is in the middle of a bridge game. Reed snoops around back and finds a detached garage with a padlock on the door. He and Malloy wait to find a young blond boy coming out (Kelly Corcoran). Mrs. Foster acts outraged, but her son, Paul (Butch Patrick), walks up and tells her to come clean. He opens the garage and shows them the haul inside, which the mother was the ringleader of, and her mother--who'd tried to distract Reed--was in on. Mrs. Foster boasts that she had a total of six boys working for her.

_______

The Mary Tyler Moore Show
"The Snow Must Go On"
Originally aired November 7, 1970
Wiki said:
Put in charge of the station's election coverage, Mary is put to the test when a blizzard completely suspends election results and the crew threatens to mutiny.

Mary gets very flustered at being given the responsibility, feeling that she doesn't exert authority. Proving her point, a male floor manager (Robert Rothwell) has to get everyone's attention for her, and at one point Ted only stops arguing with her because Lou walks out of his office. Somehow, despite the snow, Mary goes back to her apartment for dinner and returns in a half hour and recruits Rhoda to work the tote board from behind. Then the power briefly goes out and the teletype and phones both go down, meaning no election results...and as if on cue, Ted starts broadcasting.

Ted has to ad lib for two hours with no new results. At one point the numbers move and it turns out that Rhoda's flirting with the floor manager behind the board. Lou decides to go out into the snow himself to get results, to Mary's concern. They put a priest who's there for sermonette (Ivor Francis) on camera with Ted to give him someone to talk to. Then they get the results from another channel and everyone wants to just broadcast it without confirmation, and Mary has to threaten to fire Ted if he announces it on air...which works, but everyone goes back to ignoring Mary afterward.

By morning they've got Rhoda on camera telling her life story (which sounds a lot like the intro to her show). Chuckles the Clown (Richard Schaal) comes in to do his morning show with a paper in hand announcing the results, which is good enough for Mary, so she has Chuckles announce it on the air...which he does in-character. Lou returns just in time to see this, thinking that Mary put Ted in a clown suit.

_______

I saw him live once and even though he came across as kind of arrogant, some great artists can’t help it, he still put on a helluva show.
This brings to mind an amusing public altercation between him and John Lennon in the '70s:
https://faroutmagazine.co.uk/john-lennon-beatles-letter-to-todd-rundgren/

I remember this one well, but this is not General Johnson singing lead, is it? Lead singer sounds different.
I'm not that familiar with the band and couldn't find detailed info on the song, but one YouTube video comment indicated that the singer was Danny Woods.

I also now realize that Vic Tayback was Mel on Alice. I knew I recognized that name.
I thought that everybody knew that.

Leiter and McGarrett must be emissaries from the same planet.
They are from the same geostructure. Naturally they look alike.

Yeah, I can certainly see how an innovative, multi-cultural, multi-ethnic show that teaches kids lessons about how to get along and appreciate each other would be offensive to Millennials. :rommie:
This happened back in the early 2000s, I think, so my generation may have been more responsible. It was for stupid crap like Cookie Monster encouraging obesity and his alter ego Alistair Cookie smoking/eating a pipe.
 
The Partridge Family
"When Mother Gets Married"
Originally aired October 23, 1970

The younger kids are put off that Shirley's going on a date, though Laurie gets it...and acts the part of the concerned parent, waiting up for Mom to come home.

I've always thought Laurie was off-base and clueless in accepting Shirley getting back into dating when her father only died (according Shirley's narration in the pilot) six months earlier. Six.Toss the shovel over your shoulders and skip right out of the cemetery, 'ay?

At a gig venue, the band rehearses "I Really Want to Know You," which is obviously another Love Generation performance, and turns into a montage sequence of Shirley and Larry seeing each other with the kids ever present.

One of two songs (the other being "I'm On the Road") the Love Generation contributed to the first LP. The Partridge Family Album (released October, 1970). Thankfully, David Cassidy's petition to sing his own leads was granted, as he was a far better and creative vocalist than the studio vocalists.

Danny gets suspicious and enlists Reuben to investigate the man whom he believes is a "giggle-o,"

Danny having an issue with one of Shirley's love interests (and suspecting he gets around with the ladies) would be revisited--for different motives on Danny's part--in the series finale, ". . . - - - . . . (S.O.S.)", which aired on March 23, 1974.

50th Anniversary Cinematic Spooktacular

House of Dark Shadows
Directed by Dan Curtis
Starring Jonathan Frid, Grayson Hall, Kathryn Leigh Scott, Roger Davis, and Joan Bennett
Premiered August 24, 1970; Released October 28, 1970

Dan Curtis' vampire drama (and his movie directorial debut) outclassed Hammer's tired Dracula efforts of the same era, with a plot that actually had logical reasons for what unfolded, as opposed to films such as Taste the Blood of Dracula and Scars of Dracula (both released in 1970).

They even used the theme from the TV show in the opening.

Robert Colbert's score re-used and/or modified many of the cues he created for the TV series (and were also used in Curtis' The Strange Case of Dr.Jekyll and Mr. Hyde from 1968).

The film's story takes considerable liberties in condensing the Barnabas storyline into a 90-minute film.

Curtis wanted to adapt Dark Shadows into a film as early as 1968, but would not get his chance until greenlit in 1969, as seen in this column announcement from Variety, dated August 13, 1969:

JjEshnh.jpg


Regarding condensing the storyline, Curtis, Sam Hall and Gordon Russell were actually shaping it closer to the original intention for the TV plot; Barnabas was going to be over and done after a few months, but he quickly became wildly popular, so the role--and his stories--were expanded to take center stage.

The most notable change upfront is that Maggie Evans is now working at Collinwood as David's governess in place of Victoria Winters (who isn't in the film)

Yeah, Alexandra (Victoria Winters) Moltke left the series a couple of years before to start a family; Maggie being the governess had already been a plotline on the soap opera, so the movie maintained that familiarity with the audience.


Willie here seems kind of weird and creepy but doesn't have the terrible rep that had everyone wanting to toss him out and suspecting him of everything on the show

Welllll....he is not held in high regard. In fact, Maggie tells him, "How many times do I have to tell you not to touch me?!?" Implying he's a very hands-on grounds-keeper...

Dr. Hoffman is involved early on as the local doctor, who investigates the killings, inspecting the blood samples. There's a new character who plays a role similar to Doc Woodard as Barnabas's Van Helsing...a Professor Stokes (Thayer David), who suspects Barnabas early on and, unlike one of my favorite aspects of the series, openly brings up the subject of vampirism.

I loved how absolutely serious Stokes was about vampirism, and how he (later in the film) argues with Julia that vampires are not suffering from a disease that can be cured, but they're the living dead. Thayer David was so matter-of-fact, that he lent a strong air of believability to the story, making it that much more frightening.

By the way, Stokes was not a new character--he was introduced in episode 464 of the TV show, which aired on April 4, 1968--the day Martin Luther King was assassinated.

The movie adds a couple more characters not from the show Jeff Clark (Roger Davis)

Jeff Clark was from the TV series--introduced in 1968 as the reincarnation of 18th century lawyer Peter Bradford.

The music box features in this story, though I'm not sure offhand if it's playing the same tune as one of the versions used in the show.

Yes, it is Robert Colbert's cue--the second one created for Josette's music box.

The townsfolk use crosses to corner Carolyn...I can't recall that we ever saw anyone whip out one of those in the part of the show that I watched.

Oh, yes--crosses were used quite liberally on the series.

It's pretty much all about the vampire threat from start to finish

.Yep--as originally intended for the TV version..

Barnabas still finds the time to beat Willie after he tries to warn Maggie, though.

A very brutal scene, and unlike the TV version from 1967, Dick Smith applied ghastly welts on John Karlen's face, which shocks Stokes as he pays a visit to the Old House.

Jeff returns from a trip to Boston at this point, regretting having gone there. He joins in an open manhunt for Barnabas and Maggie, for which the sheriff hands out silver bullets...um, he's not a werewolf.

No hard rules about that, and silver bullets have been used in other vampire stories since this film. Adding silver to the list of anti-vampire tools is just as acceptably inventive as The Wolf Man's screenwriter Curt Siodmak creating the idea that one turns into a werewolf "...when the Autumn moon in bright" and that he could be killed with something made of silver--both having no literary precedent.

Barnabas's pursuit of Maggie is completely different in this story; the abduction and brainwashing elements that were the core of the Barnabas story on the show factor in quite late and briefly, and after everyone knows what Barnabas is. When Jeff finds Maggie and Barnabas,

Makes sense considering the unraveling of Barnabas' life; after Julia's betrayal, he was exposed, so he had to rush his plans, instead of imprisoning Maggie for weeks as seen in the TV version.

Willie takes a crossbow bolt meant for his master...but then stabs Barnabas in the back with it, leaving it to Jeff to drive it all the way in, scoring the final kill.

Now this truly turned expectations on its head; yes, Willie was fond / protective of Maggie, but his being mortally wounded (by Jeff's crossbow bolt) while trying to stop Barnabas and being the one to deliver the beginning of the staking was a great surprise, and gave Willie the redemption he deserved.

While the film made a striking early impression, I came away somewhat disappointed...the subtle charm of the show was sacrificed in favor of more typical horror film spectacle.

House of Dark Shadows was a hit for the then-struggling distributor MGM, and its standout nature justified its success. Initially, Curtis wanted to shoot a sequel which would resurrect Barnabas, but Jonathan Frid did not wish to participate, fearing typecasting, despite the fact he fulfilled his commitment as Barnabas (and Bramwell Collins) during the last year of the series' run.

As part of Paperback Library's very successful line of Dark Shadows novels, author Daniel "Marilyn" Ross adapted the screenplay of the film, which was published in October of 1970:
dsGjyVF.jpg


The novel follows what was seen on screen closely, buy fleshes out many character relationships, and adds scenes shot, but cut from the film, such as Barnabas attacking a Collinsport woman, and Roger, Stokes and the police opening Carolyn's tomb (after being seen by David and her attack on Todd), only to discover she is not there.

House of Dark Shadows secured Dan Curtis as a solid film director/producer, certainly setting the stage for his historic production of 1972's The Night Stalker (although directed by John Llewellyn Moxey), and all he achieved after that.
 
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They sure were a bunch of prudes before the Boomers.
Tell me about it. And after. :rommie:

And she's a big hit with Aunt Belle
Everything seems to be going well until a guy in a seersucker suit and pork-pie hat bursts in and shoots her with a crossbow. She falls dead and transforms into a big shaggy monster.

It features Ruth Buzzi and Frank Sutton as Beverly and Walter, a couple who take refuge in the titular location during a rainstorm after their car has run out of gas.
"Come up to the lab... and see what's on the slab...."

I almost missed the gag at the end, as the room was so dark and it looked like a fadeout except for the lamp that they made a point of keeping in frame...but after they're out of the living room, Vincent slowly vanishes.
This sounds pretty good, but they missed the opportunity to address the philosophical question of whether a marriage performed by a ghost is valid.

Petrovitch pursues the hearse, from the back of which Barney releases a small, race car-style escape vehicle in which Jim and Anna race to the border
That's very Bondish.

On the other side, Jim tells Anna that none of what he said was a lie, but now she says that she has to find herself because she's never known freedom...plus, y'know, it's the '70s, man.
He gives her a Simon & Garfunkel record as a parting gift.

It turns out that the shot the neighbor had heard was her firing at an empty chair, thinking that she killed somebody sitting in it.
Grace Slick guest stars.

At the station, Mac notes that it's the twentieth theft fitting the pattern.
Don't these guys get briefings?

Reed suggests using "A Might Fortress" instead, and the opponents mutually disagree with his choice.
That's always a good way to bring people together. :rommie:

He opens the garage and shows them the haul inside, which the mother was the ringleader of, and her mother--who'd tried to distract Reed--was in on. Mrs. Foster boasts that she had a total of six boys working for her.
They should have called her Mrs Fagin. :rommie:

Ted has to ad lib for two hours with no new results.
"This... is CNN."

At one point the numbers move and it turns out that Rhoda's flirting with the floor manager behind the board.
There's a sitcom premise: Somebody is elected to office because Rhoda was flirting and messed up the numbers, sort of like how Captain Parmenter won the Civil War. :rommie:

so she has Chuckles announce it on the air...which he does in-character.
Now that's appropriate journalism. All election results should be announced by a clown.

I thought that everybody knew that.
I recognized the name, but it didn't click till I saw him. I watched Alice sporadically at best.

They are from the same geostructure. Naturally they look alike.
They are Pod Brothers.

This happened back in the early 2000s, I think, so my generation may have been more responsible. It was for stupid crap like Cookie Monster encouraging obesity and his alter ego Alistair Cookie smoking/eating a pipe.
Oh, my goodness. :rommie:
 
50th Anniversary Album Spotlight

Absolutely Live
The Doors
Released July 20, 1970
Chart debut: August 8, 1970
Chart peak: #8 (September 5, 1970)
Wiki said:
Absolutely Live is the first live album by the American rock band the Doors, released on July 20, 1970, by Elektra Records. The double album features tracks recorded at concerts held in 1969 and 1970 in several U.S. cities. It includes the first full release of the performance piece "Celebration of the Lizard" and several other tracks that had not previously appeared on any official Doors release.
I'd have gotten around to this sooner, but it had slipped through the cracks, as I never owned the album under its original title. I have it in the form of an early-'90s double-CD Doors live compilation called In Concert, which contains all of the content of Absolutely Live, with one bit of resequencing. Absolutely Live just recently popped up on my radar because of the aforementioned new weekly playlist of selected album tracks, which has me consulting what was on the Billboard album charts for a given week.
Many shows were recorded during the band's 1970 Roadhouse Blues Tour to create the Absolutely Live album. The Doors' producer and longtime collaborator Paul A. Rothchild claimed to have painstakingly edited the album from many different shows to create one cohesive concert. According to Rothchild, the best part of a song from one performance may have been spliced together with another part of the same song from another performance, in an attempt to create "the ultimate concert". Rothchild said, "I couldn't get complete takes of a lot of songs, so sometimes I'd cut from Detroit to Philadelphia in mid-song. There must be 2,000 edits on that album." However, most of the tracks were taken from the Doors' performances at the Felt Forum in New York City on January 17 and 18, 1970.
This would gel with my impression when I listened to the Doors' later-'90s Anthology-style box set, and noticed how the live tracks therein were much less polished than those on In Concert.
Absolutely Live marks the first release of the Doors' performance piece "Celebration of the Lizard" in its entirety, which had originally been attempted in the studio during the Waiting for the Sun sessions but was eventually abandoned. The album also included several new songs which had not appeared on any Doors album up to that point, namely "Love Hides", "Build Me a Woman", "Universal Mind", "Dead Rats, Dead Cats" (performed as a preamble to "Break on Through") and cover versions of Bo Diddley's "Who Do You Love?" and Willie Dixon's "Close to You" (the latter featuring lead vocals by keyboardist Ray Manzarek).

The album opens with the introductory track "House Announcer," which leads into an acid rock-flavored cover of Bo Diddley's "Who Do You Love?":
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The remainder of side one is taken up by a medley (spliced together from four different shows), consisting of "Alabama Song (Whiskey Bar)," a cover of a Kurt Weill / Bertolt Brecht composition that had previously been recorded for the Doors' eponymous first album; Willie Dixon cover "Back Door Man," also previously studio-recorded for their first album...
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..."Love Hides," one of several band originals on the album that weren't released as studio recordings--this one written by Morrison; and "Five to One" from Waiting for the Sun:
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Side two opens with bluesy band original "Build Me a Woman". The remainder of the side is occupied by "When the Music's Over" from the band's second album, Strange Days. This number has long been a personal favorite of mine.
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Side three opens with Ray Manzarek taking the mic for a cover of Willie Dixon's "Close to You". As sequenced in these YouTube clips, Jim's announcement of the song is included at the end of "When the Music's Over" (starting around 14:50). The intro is a rather entertaining bit of business that has Morrison teasing the audience about the alleged indecent exposure incident in Miami.

Next is an otherwise-unreleased Morrison/Krieger original, "Universal Mind".

The remainder of side three consists of a sequence apparently from the same show, which was originally billed on vinyl as just "Break On Thru, #2". Its individual components in the digital age are "Petition the Lord with Prayer," a spoken piece that was originally the introduction of the title track of The Soft Parade; a seemingly improvised bit of business called "Dead Cats, Dead Rats"; and finally a rendition of "Break On Through" proper.

The bulk of side four is devoted to the first release of Jim's poetry piece "Celebration of the Lizard," with which the Doors had originally intended to fill a side of the Waiting for the Sun album. Its individual sections, all from the same performance, are as follows:
"Lions in the Street"
"Wake Up!"
"A Little Game”
"The Hill Dwellers"
"Not to Touch the Earth" (Note that they put the iconic "I am the lizard king" line at the beginning of the next track.)
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"Names of the Kingdom"
"The Palace of Exile"

The album closes with an encore performance of "Soul Kitchen," originally recorded for the Doors' debut album.

Absolutely Live sold only 225,000 copies, half of what their previous studio album Morrison Hotel had sold. Gloria Vanjak of Rolling Stone magazine wrote a scathing review of the album, singling out Morrison's performance in particular and referring to "Celebration of the Lizard" as "rancid". Robert Christgau of The Village Voice gave a more favorable review, praising its "strong performances and audio," but concluded that "I don't happen to be into reptiles when the music's over, much less while it's on."


Overall, I find this to be an enjoyable listen that brings more to the table than the typical live album, as it makes substantial contributions to the Doors discography beyond just live renditions of already-familiar material.

_______

I've always thought Laurie was off-base and clueless in accepting Shirley getting back into dating when her father only died (according Shirley's narration in the pilot) six months earlier. Six.Toss the shovel over your shoulders and skip right out of the cemetery, 'ay?
To be fair, she ran across an old flame by chance. She wasn't out there lookin' for love.

Curtis wanted to adapt Dark Shadows into a film as early as 1968, but would not get his chance until greenlit in 1969, as seen in this column announcement from Variety, dated August 13, 1969:
I read that the original idea was to actually use material from the show, reedited.

Yeah, Alexandra (Victoria Winters) Moltke left the series a couple of years before to start a family; Maggie being the governess had already been a plotline on the soap opera, so the movie maintained that familiarity with the audience.
By the way, Stokes was not a new character--he was introduced in episode 464 of the TV show, which aired on April 4, 1968--the day Martin Luther King was assassinated.
Jeff Clark was from the TV series--introduced in 1968 as the reincarnation of 18th century lawyer Peter Bradford.
Oh, yes--crosses were used quite liberally on the series.
Alright, I didn't want to bog down my write-up by constantly qualifying such statements with the fact that I've seen six months of the show--the episodes that aired from mid-April to mid-October 1967, starting with the introduction of Barnabas--so that's the part of the show that I was comparing the film to.

Yep--as originally intended for the TV version.
Even if they'd gotten rid of him after a few months, I'm sure that it still would have played as it did on the series up to a point, which involved giving the storyline a lot more breathing room and maintaining the mystery of Barnabas's true nature longer. Too much of what I enjoyed about the show was lost in this version.

Now this truly turned expectations on its head; yes, Willie was fond / protective of Maggie, but his being mortally wounded (by Jeff's crossbow bolt) while trying to stop Barnabas and being the one to deliver the beginning of the staking was a great surprise, and gave Willie the redemption he deserved.
I didn't think that it was set up clearly enough...he gets shot taking the bolt for Barnabas, then immediately turns on Barnabas.

and Roger, Stokes and the police opening Carolyn's tomb (after being seen by David and her attack on Todd), only to discover she is not there.
I thought that bit was in the film.

This sounds pretty good, but they missed the opportunity to address the philosophical question of whether a marriage performed by a ghost is valid.
I doubt they left with a license.

That's very Bondish.
It was indeed.

"This... is CNN."
That's what they needed...talking heads. Ted Baxter was no John King.

Oh, my goodness. :rommie:
IIRC, another item was that the ongoing situation of Big Bird being the only one who saw Snuffleupagus was considered mentally stressful.
 
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The Doors
bounce.gif


Released July 20, 1970
The one-year anniversary of the first Moon landing. Probably just a coincidence.

The intro is a rather entertaining bit of business that has Morrison teasing the audience about the alleged indecent exposure incident in Miami.
"Indecent" is a matter of opinion. Some people wish they were there for it, or so I've heard. :rommie:

The bulk of side four is devoted to the first release of Jim's poetry piece "Celebration of the Lizard,"
Which always makes me think of Vaughn Bode. :rommie:

Overall, I find this to be an enjoyable listen that brings more to the table than the typical live album, as it makes substantial contributions to the Doors discography beyond just live renditions of already-familiar material.
It seems like they have a lot of material that was just performed live, but never recorded in the studio, which is kind of a shame (to my way of thinking, anyway).

I doubt they left with a license.
"Honey? What's this on the brass bed? Why... it's a marriage license! Written on parchment with iron gall ink!" :eek:

IIRC, another item was that the ongoing situation of Big Bird being the only one who saw Snuffleupagus was considered mentally stressful.
I can't stand it. What kind of a mind even comes up with something like that? :rommie:
 
55 Years Ago This Week

Wiki said:
November 14 – Vietnam War – Battle of Ia Drang: In the Ia Drang Valley of the Central Highlands in Vietnam, the first major engagement of the war between regular United States and North Vietnamese forces begins.
November 15 – U.S. racer Craig Breedlove sets a new land speed record of 600.601 mph (966.574 km/h).
November 16 – Venera program: The Soviet Union launches the Venera 3 space probe from Baikonur, Kazakhstan toward Venus (on March 1, 1966, it becomes the first spacecraft to reach the surface of another planet).
November 20 – The United Nations Security Council recommends that all states stop trading with Rhodesia.



Selections from Billboard's Hot 100 for the week:
1. "I Hear a Symphony," The Supremes
2. "1-2-3," Len Berry
3. "Get Off of My Cloud," The Rolling Stones
4. "Rescue Me," Fontella Bass
5. "Let's Hang On!," The Four Seasons
6. "Turn! Turn! Turn! (To Everything There Is a Season)," The Byrds
7. "A Lover's Concerto," The Toys
8. "Ain't That Peculiar," Marvin Gaye
9. "Taste of Honey," Herb Alpert & The Tijuana Brass
10. "You're the One," The Vogues
11. "Everybody Loves a Clown," Gary Lewis & The Playboys
12. "You've Got to Hide Your Love Away," The Silkie
13. "Yesterday," The Beatles
14. "I Got You (I Feel Good)," James Brown & The Famous Flames
15. "Run Baby Run (Back into My Arms)," The Newbeats
16. "My Girl Has Gone," The Miracles
17. "But You're Mine," Sonny & Cher
18. "I Knew You When," Billy Joe Royal

20. "My Baby," The Temptations
21. "Round Every Corner," Petula Clark
22. "Keep On Dancing," The Gentrys
23. "Everyone's Gone to the Moon," Jonathan King
24. "Make It Easy on Yourself," The Walker Brothers
25. "Where Do You Go," Cher
26. "Positively 4th Street," Bob Dylan
27. "Make Me Your Baby," Barbara Lewis

30. "I Found a Girl," Jan & Dean
31. "I Can Never Go Home Anymore," The Shangri-Las
32. "I'm a Man," The Yardbirds

34. "Let Me Be," The Turtles
35. "Say Something Funny," Patty Duke

37. "Something About You," Four Tops
38. "Over and Over," The Dave Clark Five
39. "Where Have All the Flowers Gone," Johnny Rivers

42. "Just a Little Bit Better," Herman's Hermits

46. "Mystic Eyes," Them
47. "I Want to (Do Everything for You)," Joe Tex

51. "Don't Think Twice," The Wonder Who?

55. "Fever," The McCoys
56. "Puppet on a String," Elvis Presley
57. "It's My Life," The Animals

61. "Hang on Sloopy," Ramsey Lewis Trio

66. "Sunday and Me," Jay & The Americans


70. "Flowers on the Wall," The Statler Brothers

80. "The Sound of Silence," Simon & Garfunkel

100. "The Duck," Jackie Lee


Leaving the chart:
  • "Do You Believe in Magic," The Lovin' Spoonful (13 weeks)
  • "Hang on Sloopy," The McCoys (14 weeks)
  • "The 'In' Crowd," The Ramsey Lewis Trio (16 weeks)
  • "Liar, Liar," The Castaways (14 weeks)
  • "Not the Lovin' Kind," Dino, Desi & Billy (9 weeks)
  • "Respect," Otis Redding (11 weeks)
  • "Treat Her Right," Roy Head & The Traits (11 weeks)

Recent and new on the chart:

"Mystic Eyes," Them
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(Oct. 30; #33 US)

"Sunday and Me," Jay & The Americans
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(#18 US; written by Neil Diamond)

"The Duck," Jackie Lee
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(#14 US; #4 R&B)

"Hang on Sloopy," Ramsey Lewis Trio
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(#11 US; #18 AC; #6 R&B)

"The Sound of Silence," Simon & Garfunkel
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(#1 US the weeks of Jan. 1 and 22, 1966; #156 on Rolling Stone's 500 Greatest Songs of All Time)


And new on the boob tube:
  • The Ed Sullivan Show, Season 18, episode 10
  • Branded, "Fill No Glass For Me: Part 2"
  • 12 O'Clock High, "Grant Me No Favor"
  • Gilligan's Island, "Nyet, Nyet -- Not Yet"
  • The Wild Wild West, "The Night That Terror Stalked the Town"
  • Hogan's Heroes, "Top Hat, White Tie and Bomb Sights"
  • Get Smart, "Our Man in Leotards"

_______

The one-year anniversary of the first Moon landing. Probably just a coincidence.

People walking on the moon
Smog will get you pretty soon

"Indecent" is a matter of opinion. Some people wish they were there for it, or so I've heard. :rommie:
I'm beginning to wonder if you even have a sister... :shifty:

It seems like they have a lot of material that was just performed live, but never recorded in the studio, which is kind of a shame (to my way of thinking, anyway).
Also, some of the stuff that they did studio record wasn't considered "final" by the band--e.g., longer pieces like "The End" and "Light My Fire" had freeform sections built into them, with the studio versions only being one variation.
 
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"Mystic Eyes," Them
This is something I've heard many times on Oldies radio, but never given much thought to. It's enjoyable.

"Sunday and Me," Jay & The Americans
I've never heard this one before. It's very good. I'm in love with Sunday, too. :rommie:

"The Duck," Jackie Lee
About six years too early for the Duck Fad.

"Hang on Sloopy," Ramsey Lewis Trio
That was not the best cover I've ever heard, but not painful.

"The Sound of Silence," Simon & Garfunkel
Poetic genius.

I'm beginning to wonder if you even have a sister... :shifty:
You think I'm Gabe Kotter? :rommie: I'm sure I can dig up some proof....

Also, some of the stuff that they did studio record wasn't considered "final" by the band--e.g., longer pieces like "The End" and "Light My Fire" had freeform sections built into them, with the studio versions only being one variation.
Maybe that's why I couldn't get into them. I could sense they weren't finished yet. :rommie:
 
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