_______ 50th Anniversary Catch-Up Viewing _______ Love, American Style "Love and the Joker / Love and the Letter / Love and the Living Doll / Love and the Unlikely Couple" Originally aired October 6, 1969 I have all of the segments from this episode, spread across three syndicated episodes--or four, if you count that "Love and the Joker" appears in two different episodes! (Though I just discovered last night that somebody's posted full original Season 1 episodes on YouTube, so I may be reviewing from those in the future. If I'd known they were there, I would have been watching in 50th anniversary sync last season!) "Love and the Joker" has Larry Storch as Bill, a greeting card writer who frustrates his co-worker and love interest, Vera (E.J. Peaker), with his inability to be sincere without pulling gags--both at work, in the punchlines of his cards, and on a date, where he brings her rhubarb wrapped like roses and serves her champagne in a dribble glass. The day after the date, she gets even with him by giving him an apology note on sticky paper that he can't get off his fingers. "Love and the Letter" stars Robert Clary (from Hogan's Heroes) as Maurice and Reni Santoni as Vito, ESL students in an adult education English class. Vito tries to convey his feelings for his teacher, Miss Walker (Margaret O'Brien), in a letter that he reads in front of the class, but she doesn't get the message and obsesses over his grammar. Vito leaves the class in a huff, after which Maurice tells her that she hurt his feelings and directs her to the pizza parlor where he works so she can apologize. When she does, Vito tells her that the letter was for her. Other students in the class include Henry Corden and Miko Mayama (Yeoman Tamula in "A Taste of Armageddon"). "Love and the Living Doll" is a longer segment that takes up a full half-hour syndicated episode, minus the interstitial gags. Harvey (Arte Johnson) realizes that the neighbor he's interested in, Barbara (Marlyn Mason), is taking him for granted because he's made himself too easy to get...and he can see the guys she's dating because their apartments are on either side of an inward corner of the building, such that each can see the other's window. So Harvey tells her about a hot date he's got with a "living doll"...then proceeds to prepare an inflatable doll in a slinky dress and wig. Barbara cancels a date so she can try to get a look at Harvey's date. He wines and dines the doll, which falls out of the chair, but this makes Barbara think that she's smashed. Then he dances with the doll with the shade down, so she can only see their silhouettes. More physical comedy mishaps ensue, which Barbara misinterprets, so she rushes over with a story about trying to find an earring. He doesn't let her in until he emergency deflates the doll by stabbing it with a knife, and then Barbara tries to find out more about the mystery date who suddenly left while finding that she left her shoes behind. Barbara: Where did you pick her up, Harvey? Harvey: Oh, uh, downtown in one of the department stores. Just as Harvey's convincing Barbara to join him in the dinner he made, a cop comes to the door and reads Harvey his rights, because he got a call from nosey neighbor Mrs. Bradbury (Estelle Winwood), who saw the silhouette of Harvey stabbing the doll. (We didn't see her watching, but I saw that coming because of the way the stabbing was set up in front of the shade.) Harvey has no choice but to reveal the deflated doll stashed under a couch cushion. Harvey's humiliated, but when he and Barbara are alone, she's flattered that he went through the trouble. "Love and the Unlikely Couple" opens with Mr. and Mrs. Silversmith (Lou Jacobi and Alice Ghostley) trying to get their home looking nice because their son, Wally (Wes Stern), is bringing over his fiancée for the first time. When they see the statuesque Bunny (Barbara Rhoades), Mr. S considers Wally to be a "lucky bum," while Mrs. S assumes that Bunny must be a gold digger, and subsequently goes out of her way to convince Bunny that everything in the house is worthless. But it turns out that Bunny's the one who's loaded, so Mrs. S then assumes that Wally is after her money...though Mr. S doesn't see the need for Wally to have an ulterior motive. Wally and Bunny finally convince the two of them that they're really in love...she makes him "twang" inside, and he makes her "ping". _______ Hawaii Five-O "Forty Feet High and It Kills!" Originally aired October 8, 1969 So, we're back to H5O being all spy fi, with the return of McGarrett's Blofeld from the pilot episode (Khigh Dhiegh). There's an actual daylight break-in at the weather observatory with guards being knocked out, but the tsunami warning goes out before anyone knows about it. This causes the scientists at a conference to be evacuated to higher ground. But McGarrett gets a notification of the communication lines to that observatory being out, and smells a hoax because nobody else has reported the tidal wave. Chin and Kono rush to the observatory and find the trussed-up guards. While 5-O is sorting things out, Wo Fat's men nab Professor Lochner (Geer). The professor tries unsuccessfully to make them think he's somebody else, but McGarrett gets word of it and figures that he'll have Lochner's help on the inside. After some verbal sparring over Wo Fat's intentions, the professor declares that he secretly has diabetes and smashes the only bottle of insulin that he has with him. This buys him time as Fat sends his men to get more from the villa where Lochner has been staying. Meanwhile, McGarrett liaises with the professor's daughter and assistant, Victoria (Sabrina Scharf), with whom he'd previously been flirting, and she tells him that her father really is secretly a diabetic. So McGarrett sends Danny and Chin to the villa, where they interrupt the burglary and wound one of the minions. McGarrett is able to question him just long enough for him to drop Fat's name. Meanwhile, the professor has gotten wind of McGarrett and figures he's got a sharp ally on the outside. He tells Fat that he needs a specific type of insulin, and reluctantly discloses the name of the pharmacy where he got it. Victoria doesn't want to play ball on her end, however, fearing that McGarrett would cut off the insulin supply to kill her father rather than let him fall into red hands, but Steve persuades her to cooperate for the chance of getting the professor back alive. He sends his men to stake the place out but not interfere, so they can follow Fat's men. The team displays better surveillance technique than they did the other episode when they were openly gawking at their subject at the airport. McGarrett coordinates their efforts via radio and marks their route on his Giant Daylit Lucite Map of Honolulu. It leads to the pier, which McGarrett has surrounded, and lets Wo Fat know it via bullhorn. Fat reveals himself and some face-to-face verbal sparring results in successful negotiation of Lochner's release in exchange for Wo Fat being allowed to walk away. Fat stops the crate in which the professor was being smuggled from being loaded onto a ship. _______ Dragnet 1970 "D.H.Q. – Medical" Originally aired October 9, 1969 Wednesday, July 30 (1969): Friday and Gannon are working the night watch of the hospital detail out of Detective Headquarters, which involves investigating cases dealing with the mentally ill, amnesia victims, and alcoholics. This includes threats by a Fred Pick (Del Moore) to blow up a radio station for supposedly talking about him on the air, though they deny having ever mentioned him. The detectives make some calls and find a friend that Pick has recently visited, who upon being asked discovers that his gun is missing. They have a car sent to keep an eye on the radio station. An old British gentleman named Basil Jennings (Cyril Delevanti) is brought in after loitering for some time in the lobby of a hotel. They've dealt with him before...apparently he likes big hotel lobbies better than the home he lives in. He acts like he has amnesia, so they have him checked out, but it turns out he was just pulling one on them to get a ride in a police car. Then a man named George Brownlea (Morris Erby) comes in saying that he has a sick woman whom he doesn't know in his car...but it turns out that she's been dead for hours. He initially claims that he picked her up drunk at a park for her own good, but when they're going to do a make on him, he admits to having a record and being on parole, and having been shacking up with the woman for some time, but explains that she had a major drinking problem. Meanwhile, Pick has been picked up outside the radio station and is brought in. It now seems like Friday and Gannon have dealt with him before, though that wasn't mentioned when they were looking into him earlier in the episode, and he tells an exaggerated tale of having taken his case against the station to the Supreme Court. They convince him to go back to the facility where he's been treated before. As he has before, he gives them in writing a gift of great, imaginary wealth...in this case, $7 million dollars in bonds. Finally, shooting victim John Murphy (King Moody) is brought in. Friday tries to get a dying statement from him about who shot him, but he doesn't manage to answer before passing. Immediately after, a young woman under the influence of something is brought in, having been directing traffic with handwritten signs reading "STOP" and "GO-GO". _______
One of my favorite Holland Dozier Holland compositions for the Supremes. My brother, sister, and I, used to really like the Turtles, to the point that we actually went to see them perform. I think they were opening for Herman’s Hermits, or someone. A banner day in my history with pop music, obviously. I mentioned this to my sister just a few days ago and she tried to claim she wasn’t there. Diana had a surprising string of hits once she left the Supremes. Maybe I should say that Iwas surprised. This song was actually rather iconic. I think I still have my vinyl copy of this album. Great song. I’m sure there’s some story about this song title. But as strange a title as it is, it somehow works. The song itself never really did anything for me.
Must be ripped from the DVDs. I only see one episode from season 2. That will only encourage him! Actually, maybe it did-- I remember the story, but not the ending. Ah, the yeoman with the saucy phaser pose. A for effort. And isn't that what it's all about, really? I like that the professor is not a passive victim. He's always up to something. Miramanee! And exaggerates the copay in hopes of discouraging him. This sounds like a good episode, but I am dubious about Wo Fat's plot. Why does he want a superior race? What will their superior attributes be? What does he hope that they will accomplish, especially since it likely won't happen until long after he's dead? What does Will Geer have that many other geneticists, most of whom are likely to be easily bought, don't have? Innovative. Next week she'll show up as a new policewoman.
I recognize that stage, but couldn't find a date. tv.com has three appearances listed in the '69-'70 season, but none of the short descriptions matches. And their listings aren't always complete. The important thing is that, in that moment, you were happy together... Definitely more sporadically successful than when she was with the Supremes...her next chart-topper will be in three years. I seem to recall reading somebody somewhere speculating that it was about Allen Klein, but I looked it up and they wouldn't have been working with him yet when this song was recorded. I--I AM KIROK!!! Wo Fat wasn't the mastermind, he was smuggling him to China. There was some discussion between him and the professor regarding their intentions...apparently they wanted a superior ruling class. And they were going to give him his own institute to make it happen.
_______ 50th Anniversary Catch-Up Viewing _______ Love, American Style "Love and the Doorknob / Love and the Phone Booth" Originally aired October 13, 1969 This episode consisted of two longer segments that each fully occupy a half-hour syndicated episode, accompanied by several interstitials in the syndicated cuts. "Love and the Doorknob" stars Gary Lockwood and Stefanie Powers as newlyweds Ernie and Poppy, returning to the apartment that they're using as their honeymoon suite. Poppy's laying it on a bit thick about how perfect her new husband is, so he insists that there must be something she doesn't like about him, to which she finally reluctantly agrees that his mouth is too small...which only causes him to obsess over proving that it isn't. While she's changing in the bedroom, he gets his toe stuck in the bathtub faucet toe stuck in a bowling ball mouth stuck around the outside bedroom doorknob. Note that Gary appears to do his own stunts here--we see him fully consume the object in question. Poppy calls over a neighbor (Paul Smith), who initially assumes that she's inviting him in for something else; then calls the superintendent--Stafford Repp! Handyman O'Hara first takes the door off the hinges, and only afterward thinks to just unscrew the doorknob from the other side...physical comedy ensues with each removal. With just a loose doorknob stuck in Ernie's mouth, the couple proceeds to the hospital, where they eventually see a doctor (Paul Hartman). The knob pops right out when the doctor gives Ernie a shot in the butt to relax his mouth. "Love and the Phone Booth" has Ray (Dwayne Hickman) using the titular object to try to set up a blind date for his roommate, Dave (Peter Kastner). Of course, Dave is a little square... Ray: Here's your type, a real country girl. She smokes pot in a corncob pipe. Dave: She smokes a pipe? Ray: Forget it, she's not your type. Unable to find a willing candidate in his little black book, Ray turns to a name and number scratched on the phone booth wall. Patty (Pamela Austin) assumes that Ray is a pervert and is very upset by the call. Later, when Ray's picking up a date, Dave returns to the phone booth and calls Patty to apologize. She accepts his apology, realizes that it was an old boyfriend who scrawled her name in the booth, and spends three hours talking to Dave. (A pretty neat trick with a payphone--where's this guy when David Banner needs change?) At the end of the conversation, they arrange a date. Dave just wants to take her to a movie, but Ray gives him advice for how to make moves on her, like taking off her shoes and showing her an art book of nudes. When Patty comes over, she takes off her own shoes, and proactively shows an interest in the book--in addition to putting on an album of soft music by a group called the Love People and asking for vodka and orange juice--all of which gets Dave pretty worked up, so he starts trying to make out...and she thinks he's a pervert again, and a sneaky one, slapping him and storming out. Dave tries to call her again, but her number's been painted over, so he tries to scratch off the paint and is arrested by a police officer (William Bramley). His cellmate is a drunk played by Stuart Margolin, who's a regular player in the interstitial skits. Dave remembers her full name and gets her number from the operator, which he writes on the wall of the station's pay phone. He calls her again and explains how he was getting the wrong impression from her, and though he does it by blaming her for giving him the wrong idea, she forgives him and comes to bail him out. At the end of the episode, Dave and Patty are finally hitting it off smoothly, though they encounter a bump in the road when the drunk uses the number written on the wall to call Patty. _______ Hawaii Five-O "Just Lucky, I Guess" Originally aired October 15, 1969 The episode opens with a young prostitute named Angela (Elaine Joyce) bringing middle-aged Marty Sloane (John Randolph) to her apartment...where she says the title when he's trying to ask her how she got in her line of work. Somebody comes knocking on the door and she hands Marty a key and has him hide on the terrace behind a plant. Her visitor, gangster Charley Bombay (Albert Paulsen), is looking for merchandise that he thinks she has, and ultimately pushes her off the terrace without seeing Marty. McGarrett finds the place ransacked and finds Marty's glass in a plant on the terrace, which causes him to figure that they might have a witness. From Angela's M.O., which includes lots of wealthy support and being on smack, the team deduces that she was working for Bombay. A driver clues Chin in on the John she brought home and that he was in hardware, which leads the team to a convention, where Marty is being honored by friend and hardware honcho Willie (Herb Vigran). When Marty leaves with McGarrett and Danny, a bellboy tips off Bombay, who figures that Sloane's got "the stuff". Marty's reluctant to testify because he has a good reputation in his community and business and a wife and four kids. Marty becomes more willing to talk about what happened that night when he learns that Angela was only eighteen, a year older than one of his daughters. McGarrett's ears perk up when he's told about the key. In an airport locker, the team finds a teddy bear stuffed with $250,000 worth of H. Marty has a heart-to-heart with Willie, asking him if he'd ever gotten in trouble with his wife, and Willie encourages him to face the music. Bombay has the hotel staked out, and when they get him alone in the parking garage, his men try to kill Marty from a car. McGarrett puts the pressure on Marty, now in protective custody, to spill what he saw. McGarrett enlists a policewoman (Anne Helm) to impersonate Angela's sister, Joyce (who's actually in a psych ward for a drinking problem), ostensibly coming from the mainland to get Angela's things. Bombay has Fake Joyce over to negotiate for "the stuff," and checks out every detail of her story. She sets the details of the exchange, out in the open at a thoroughly staked out hotel. A hood pretending to be a shoe shine boy makes her leave with a concealed gun and brings her out to Bombay, who grabs the bag with the bear in it. 5-O closes in on him now that the goods are in his possession, which includes disabling his vehicle with sniper fire. He makes a run for it on foot...to a dock! He tosses the bear in the drink, so he's arrested with no evidence on his person. Back at McGarrett's office, Marty is brought in, but he says he's never seen Bombay. McGarrett makes a stern appeal for Sloane to do his duty by helping to put this cancer on society away. Marty then mans up and McGarrett expresses his admiration afterward. _______ Dragnet 1970 "Burglary – Mister" Originally aired October 16, 1969 Tuesday, September 27 (1966?): Friday and Gannon are working the day watch out of Burglary/Auto Theft Division when they're sent to investigate the robbery of the house of a blind woman, Mrs. Kandell (Alma Platt). The woman who answers the door, Janice Lumis (Virginia Vincent), is the granddaughter of the victim, and tells them that her husband, Daniel Lumis, did it. The entire place is cleaned out, even of personal effects and Mrs. Kandell's cane. It's clear from the way that the old woman colorfully describes him as the devil incarnate that no love is lost between her and her grandson-in-law. Janice acts very upset butconflicted, still displaying affection for her husband. She describes how he insists that everyone--even she--must address him with the title "mister"...he even has it tattooed above his name on his arm and uses it when signing checks. This is where I start to believe that these stories are at least loosely based on real cases, because nobody could make this shit up. The detectives quickly turn up that Lumis has a history of passing bad checks and skipping bail. They talk to Chester Albertson (Jack Sheldon), a bowling alley manager who was left paying the bond on his bail and was taken for money that was supposed to be put down on an apartment as well as his possessions. From him they find out about an ex-wife and an estranged brother. They make some calls and find out that he never divorced his previous wife, whom he skipped out on, and that he last saw his brother when he took their mother's funeral money. A deposit check for another apartment leads them to Lumis's next marks, Amanda and Doris Tucker (Amzie Strickland and Michele Grumet). Amanda already knows that he's bad news, but he's engaged to Doris, whom her own mother describes as "homely and heavy". (Note that Doris is played by the same actress as "Fat Donna" in the child abandonment episode, and again, she's not nearly as unattractive as they're playing her up to be.) Amanda and the detectives figure that he was taking her for the honeymoon money. The distraught Doris points them to his current bowling alley, where they finally confront Lumis (John Hudson) face-to-face... Gannon: You Daniel Lumis? Lumis: I'm Mister Daniel Lumis, who are you? Gannon: I'm Mister Officer Gannon, this is Mister Sergeant Friday. Lumis very verbosely describes how he has a taste for the finer things in life and outlines his justifications for everything he's done, as if he expects the law to give him a pass for having such an inflated sense of self-importance. He explains how he cleaned out the old lady by hiring a moving company and giving them a fake story. Finally, when asked, he describes how his insistence on being addressed as "mister" dates back to when he was an enlisted man in the Navy and resented having to address officers whom he saw as his inferiors by that title. Friday: Well now, it's gonna be a little rough for you from here on in, isn't it?...Where you're headed, there aren't any "misters."...Just numbers. _______ They wanted more Shakespeares and Michelangelos...and a few more Confuciuses. And they were planning to breed superior worker drones to serve them as well.
This is a good one. Very graphic for 60s TV. I recall there was plenty of good slapstick in this one. I don't recall this one so much. The perfect choice for a square friend. This was actually a backdoor pilot for a series about a phone booth that is haunted by the ghost of a jilted lover who now spends eternity helping other people hook up. I'm pretty sure that's true. In his defense, these are all good signs. He should have let his fingers do the walking-- oh, wait, that's what got him in hot water to begin with. Nobody ever notices poor Marty. "Book 'im, Danno." Even if it is Death Metal. About time! But later that day, a whole beach full of people had a super groovy party. Truth is indeed stranger than fiction. Why doesn't this guy have about a million warrants out? Friday: I'll do the quips, Bill. I hope they read him his rights before he narrated his autobiography. There we go. Dun da dun dun. It's good to have long-term plans, I guess, but it would have been quicker and cheaper setting up a program to find and cultivate the talents among those billion people they have at their disposal.
55 Years Ago This Week Selections from Billboard's Hot 100 for the week: Leaving the chart: "Mr. Tambourine Man," The Byrds (13 weeks) "Sitting in the Park," Billy Stewart (8 weeks) "(Such an) Easy Question," Elvis Presley (8 weeks) New on the chart: "Action," Freddy Cannon (#13 US) "We Gotta Get Out of This Place," The Animals (#13 US; #2 UK; #233 on Rolling Stone's 500 Greatest Songs of All Time) "Liar, Liar," The Castaways (#12 US) "Hang on Sloopy," The McCoys (#1 US the week of Oct. 2, 1965; #5 UK) _______ It definitely showed a different side of Lockwood. But he was being honored as Hardware Guy of the Year or something... I think HPD could've fished it out before then. Yep...his waiving them was an early demonstration of his superiority complex. Perhaps...
The accompanying video is as biased and one sided an account of the uprising in Watts in 1965 that I could imagine. It could easily have been written by conservative racist firebrand newscaster (at the time), George Putnam, or LAPD Chief Robert Parker, whose brigade of uniformed KKK members, were responsible for starting the trouble in the first place. This video would have you believe that people just decided one day to burn down buildings, fight LAPD officers, go to jail and risk death, for no good reason. No, as usual, LAPD was the spark that touched off a social powder keg of their own making.
Sorry about that. When it comes to news events, I try to find a primary source from the era, rather than a retrospective. And that was all I was finding. So it came with biases and all.
This is a fun song. Classic. It really captures that universal sentiment. Good one. But it's really reminding me of something else, and I can't quite place it. Also a fun song. The funny thing about this one is that it always reminds me of that time they did it on Sesame Street. Possibly the only time he ever did comedy. Or something. Wow. I'm sure he defended himself in court, too.
50 Years Ago This Week Selections from Billboard's Hot 100 for the week: Leaving the chart: "Gimme Dat Ding," The Pipkins (12 weeks) "Mississippi Queen," Mountain (17 weeks) "A Song of Joy (Himno a La Alegria)," Miguel Rios (9 weeks) New on the chart: "Border Song," Elton John (#92 US) "Long Long Time," Linda Ronstadt (#25 US; #20 AC) "Closer to Home (I'm Your Captain)," Grand Funk Railroad (#22 US) "Rubber Duckie," Ernie (Jim Henson) (#16 US; #36 AC) "Express Yourself," Charles Wright & The Watts 103rd Street Rhythm Band (#12 US; #3 R&B) "All Right Now," Free (#4 US) "Green-Eyed Lady," Sugarloaf (#3 US) _______ Last month-ish in 50th Anniversaryland (Sept. cover dates), Jack Kirby's departure from Marvel was announced, with his last work there before leaving appearing in Fantastic Four #102 and Silver Surfer #18 (the last issue of the series). This month-ish (Oct. cover date), the first chapter in his wild, wonderful Fourth World saga hits the stands...Superman's Pal, Jimmy Olsen #133. On top of everything else, there's an ad for a glow-in-the-dark Dark Shadows model in the book! _______ Sounds a little out of date for its time to my ear, but it's the theme song of an American Bandstand spin-off called Where the Action Is. This has become a quintessential 1965 song for me. I was reading something interesting about how this was the American version of the single, which used a different take of the song, and there was an attempt in the CD age to standardize to the British one, but fans liked the American version better. I know that Debbie Harry covered it....Anyway, definitely has a groovy, swinging sixties vibe to it. I don't remember that, but funny you should mention Sesame Street....Anyroad, this was actually a longer cut than the single edit, which seems to have become standard on compilation albums. I'm wondering if that's true, given how natural he seemed in this episode. Sounds about right...and if he did, he likely racked up some contempt charges.
Holy Toledo-- Elton John, Linda Ronstadt, Grand Funk Railroad, Free, Sugarloaf. Suddenly it's the 70s! A very nice song to kick off an amazing body of work. I think Linda Ronstadt is one of those people, like Neil Diamond and Barry Manilow, that people are afraid to admit they like. I like her, and this is a beautiful song. Nice. This is what I call a Sunday Morning Song. Stone-cold classic. This sounds vaguely familiar, but it's not that great. Classic 70s rocker. In the misheard lyrics department, I always thought he was saying, "Let's move before they raise the fucking rent," and I was thoroughly amused that they got away with playing it on the radio. Imagine my disappointment later..... Very nice indeed. We're officially in a new era. Jack's departure from Marvel is what triggered my first hiatus from comics-- the exceptions being MAD and Cracked. And then the advent of Crazy got me slowly back in. I was actually on the verge of typing that it sounds like the 50s, but it didn't really quite. I must have heard the Debbie Harry cover, so that's probably what I'm thinking of. Possibly the first example of a flying Muppet. I was a Muppet fanatic in those days. He was excellent, but I don't see a lot that looks like comedy in his IMDB resume.
_______ 50th Anniversary Catch-Up Viewing _______ Love, American Style "Love and the Legal Agreement / Love and the Militant / Love and Who?" Originally aired October 20, 1969 I only got one segment from this episodes on Decades, and it makes me especially glad to have access to the full episode, because it wasn't the segment with Bill Bixby! The theme song sounds significantly different from the one used in the syndicated episodes--I assume this is the original Season 1 version by the Cowsills. I can see why they replaced it...it sounds kind of grating compared to the version that I'm used to. The original episodes also include a brief announcement about the episode's segments before the first one starts. "Love and the Legal Agreement" stars Bill Bixby and Connie Stevens as Darian and Louise Patrick, a couple experiencing marital strife. As the segment opens, he's suffering a hangover and she's angry about the attention that he was paying to female guests at the party the night before...but he recalls her spending time with another guy as well. This is just their latest spat...he feels that she doesn't appreciate everything that he provides with his career as a lawyer, and in turn doesn't think she's a very good housewife. She decides that she wants a separation, but neither is willing to vacate the house, so they come up with the titular document to continue sharing it. As each of them gets into swinger mode, they can't help being nosey about each other's romantic prospects, and getting upset at their old romantic spots being repurposed. Louise's first date is a mutual friend named Mike (Denny Miller), who doesn't know about their arrangement and gets quite uncomfortable that Darian's there when he comes over to pick her up. When he gets filled in on their arrangement, he declares that they're both sick and leaves. Darian starts to get the idea that they should salvage the date by going out together, and to that end calls his date...who also thinks that they're sick. Darian: I dunno...let's face it, the separation isn't working. "Love and the Militant" has college president Dr. M.B. Selby (Barry Nelson, most noteworthy as the first actor to play James Jimmy Bond in a 1954 Americanized TV adaptation of Casino Royale) dictating to his secretary, Miss Smith (Chelsea Brown), when an unaffiliated militant named Harley Davis (Stu Gilliam) bursts into the office with a vial of explosive and declares a "lock-in". Miss Smith and Harley are already acquainted, and it quickly becomes apparent to Dr. Selby that she's the real reason for this freelance intrusion into his office. Under the guise of negotiating terms, he suggests that Miss Smith consider going out with Harley. She's not crazy about the idea at first, but when she and Harley start dropping high-culture references, they realize that they have a lot in common. Then somebody throws a rock through the window with a note attached encouraging Noelle to go out with Harley...which turns out to be from Harley's mother, ruining the moment. In "Love and Who?,"* one Fred Schreiber (Sid Caesar) wakes up in a hotel room in Vegas on New Year's Day surrounded by evidence of a mysterious female...a pink nightgown, a blonde wig, a toothbrush, panty hose. He also finds evidence that he'd gotten married to this woman at a chapel. Fred tries to learn more by calling the chapel and the friend in L.A. whose party the night before is the last place he remembers having been, but he doesn't get any info about the mystery woman. Finally, his wife, Estelle (Maureen Arthur), comes knocking on the door. He tries to make excuses, but learns that she's the woman he's been with, and that they'd just renewed their vows. * I saw this listed somewhere as "Love and the Who"--now that woulda been a helluvan episode! _______ Hawaii Five-O "Savage Sunday" Originally aired October 22, 1969 This one's pretty much action up-front. The revolutionaries intended to just get the weapons back to their country, but a guard manages to pull an alarm while being shot, so the place is quickly surrounded...but not before a truck gets out with most of the thieves and the stolen weapons. Their leader, Elpidio Alcuna (Henry Silva), stays behind to hold the police off. The team comes in from their weekend activities (Danny and Kono were supposed to be surfing), and McGarrett gets the idea to rappel down through a skylight while the others open fire on the place as a distraction. He's spotted and fired upon, but ultimately captures Alcuna. At the hospital, Alcuna engages in a macho display of his scars to demonstrate his resistance to interrogation...but the watchman is still alive and does talk. Back among Alcuna's confederates, we get some drama centered around Alcuna's sympathetic wife, Marla (Julie Gregg), who's just learned that she's pregnant. While McGarrett's working out a search radius on his Giant Daylit Lucite Map of Oahu, the revolutionaries get into the hospital dressed as workers and smuggle Alcuna out in a laundry hamper. McGarrett gets news out about Alcuna's condition in an attempt to force the revolutionary to make a desperate move. An official from the revolutionaries' country, Vallios (Wright Esser), wants Five-O to hold back and let Alcuna die, but McGarrett won't have it. Meanwhile, a dock strike that the revolutionaries are unwilling to defy delays their escape, sowing discord in the band. Five-O tracks down their repainted truck and pursues it on its way to the docks (following the lifting of the strike), forcing a mild crash. Surrounded by the authorities and with a lifesaving ambulance in sight, Alcuna tries to defy them with rifle fire, but Marla drops the news about her condition, persuading him to surrender so that his child may live...and possibly be one of my classmates. _______ Dragnet 1970 "Juvenile – The Little Pusher" Originally aired October 23, 1969 Hippies are like Friday and Gannon's HYDRA... The transitions to his last line seem to be getting more forced. Monday, October 13 (1969): Friday and Gannon, working the day watch out of Juvenile Narcotics Section, are bringing a 12-year-old boy named Kenneth Shore into Central Receiving. They found the boy, Kenneth Shore, wandering across a freeway while high. Capsules and marijuana found on his person. Kenneth's parents are shocked, and tell of how he made friends they don't know at his new school. The detectives proceed to talk to his principal (Robert Brubaker), and at his request hold a meeting that night to educate his teachers about narcotics...giving one teacher the opportunity to ask, "I've always wondered, what's the difference between a pep pill and a goofball?" Friday takes the opportunity to make a new argument against marijuana...conceding to one of the teachers for the sake of argument that it's no worse than alcohol, he rolls off statistics about alcohol abuse and uses those as an argument against pot...kinda totally missing the point of comparing weed to liquor. For identification purposes, the detectives pass around a fake marijuana leaf and light a marijuana pellet so that they can identify the smell. One teacher says that she smelled that odor earlier that day in the girls' restroom. Vice Principal Daniels gets back with them about a subsequent altercation at the school involving a student who was found with pot on him. Under questioning by his father, Frederick Pine identifies the seller as a student named Timothy Freeman. The detectives learn that Timothy is living in a house with permissive, pro-pot parents who are sharing their residence with a number of unmarried adults, and that the father routinely travels to Tijuana. They enter the residence with a warrant to find a hippie house with two young children living in squalor. In a bit of overly story-convenient timing with practically no set-up, Tim's older sister is found dead from an overdose of barbiturates. All of the adults are hauled away and the episode ends with Gannon closing the front door while looking disdainfully at a psychedelic poster promoting flower power. It's like Dragnet 1967 all over again! The young blond boy they found looked a lot like I would a few years later. _______ Ernie! And it's being included here despite its humble chart performance because the album is on the list. This one is hauntingly gorgeous, and one of those songs that I associate with the station that my Mom used to listen to in the car when I was little. For me, it captures some of the vibe of what I remember of the very early '70s. This is, needless to say, not the single edit. And another that takes me back to those earliest years in a different way. I'm sure that I was too young to have much of an idea what was going on during this one's original chart run, but it definitely stuck around for a few years. It's got a good groove, but doesn't really pop. You made me go and look up the lyrics, because I'd never understood most of them. That's an interesting reaction to me, because my impression of this one is that psychedelic rock is still alive...to my ear, it would've sounded at home in '68. If you never got into the Fourth World, that's too bad. At the risk of overusing a term, I'd say that it was Kirby's magnum opus as a comics creator. An ambitious attempt for the time to create a sub-line of tightly connected titles within the DC superhero line (which still didn't have a lot of continuity between titles in those days, other than "family" lines like the Superman books). Chock full of wild concepts...New Gods was epic, and imitated by George Lucas and Jim Starlin--as well as Kirby himself later in the decade back at Marvel, from what I know of The Eternals; and The Forever People was a hippie super-team--cosmic hippies from New Genesis, but hippies nevertheless! Mister Miracle was the most conventionally superheroic of the titles...and as such, its original run lasted a bit longer than the others. It definitely sounds like the earlier '60s, when Cannon was enjoying his prior hits. It strikes me that the B-52s may also have been channeling it in their early stuff. That got me curious, but I'm not finding anything on YouTube.
Afraid? I had a poster of her in my bedroom and my first girlfriend was almost a dead ringer for her.