In the middle of watching the 1966 Batman movie; @Christopher , refresh my memory--Did you ever do a review as part of your review of the series here?
MeTV's SuperSci-Fi Saturday Night
- Thread starter JD
- Start date
I don't think so. I've had it in my Netflix queue for a while, but I somehow missed the chance to review it in its proper place in the sequence, and I haven't gotten around to it since.
I'm taking notes with the intent of posting something later, so if you've got the time in your day, it might be a good opportunity to get that out of your queue.
I remember these guys http://www.floatingneutrinos.com/
.
I'd loved to have had the UFO spacecraft poster.
The snark is priceless.
Tonight we actually see what a zombie is supposed to be--not a flesh-eating ghoul--but a worker...a golem.
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Batman [The Movie]
Released July 30, 1966
Outdoor location shooting! The debut of all of the other Bat-vehicles! Bigger, longer, and with four fiendish villains!
I didn't know what to make of this the first time I stumbled into a weekend airing already well in progress as a kid. It might have been nice if they'd reformatted it as a multi-part episode in syndication. I never knew when the movie might be on, and I don't think I ever had the opportunity to watch it all the way through until I was an adult.
Apart from the obvious signs of it being a bigger-budget movie, this installment is perfectly in stylistic sync with the series, right down to the sight-gag labels. It also demonstrates how a movie can balance the heroes and multiple villains if it doesn't delve into origin business.
Joker is definitely having a bad mustache day in cinematic quality. And between Catwoman's role in the film, all of the Penguin gimmickry, and so many riddles, Romero Joker's less distinctive motif gets him lost in the shuffle somewhat, relegated to firing torpedoes on command like a henchman. And performance-wise, he comes off as a straight man next to Gorshin's Riddler...an unbecoming role for the Joker to find himself in.
This installment gave us some of the most memorable bits of business from the West version of the Caped Crusader....
"Hand me down the Shark-Repellant Bat-Spray!" (4:56+)
"Some days you just can't get rid of a bomb."
And of course, the Foam Rubber Wholesalers Convention....
They show Bruce hitting the costume change lever on his way down the Batpole at multiple points in the film, so we know that however it works, it's a manually triggered mechanism. And isn't this the first time we see the Batpoles' steam lift?
So Robin isn't allowed to drive the Batmobile but he can fly the Batcopter? Granted it seemed to be partly automated, but he was definitely manning the controls per Batman's instructions.
I'd say they were reaching with how everyone realized that all four villains were working together, but it's a standard device in the series for the Dynamic Duo to figure out absurdly arcane clues...including some of the riddles in this installment.
Robin: "A sparrow with a machine-gun!"
Gordon: "Yes, of course."
"To the other new Bat-vehicle, fast!" It's telling how California-looking the Batboat pier is. They'd have to go out to Short Island (as we learn it's called in this very installment) to get to a pier on open ocean with no city in sight. Sandy Nose...Sands Point, perhaps?
Of course, a submarine pinging away with active sonar like that would be easy to trace. And it's supposed to be a pre-atomic sub, which matches the exterior set shots...but it has polaris missiles? Those were a new thing in the '60s and you'd definitely need a larger and newer sub to launch them. I don't see anywhere on the wood-planked deck for a missile to even launch from.
For all of TV Batman's respect for (often inept) law enforcement, the film isn't terribly flattering to the military in that scene of the Caped Crusader calling the admiral.
The Catwoman's secret identity--Maybe she's harder to recognize when she's not doing that weird thing with her eyebrows? What's more, in some scenes Meriwether's Catwoman voice has too much of Kitka's accent in it. Granted, the show always plays fast and loose with flimsy disguises and very distinctive villains passing themselves off as ordinary citizens. Here Alfred bothers to wear a mask while driving the Batmobile, which works by the show's absurd rules even though he's otherwise extremely recognizable. On the other hand, the Dynamic Duo instantly recognize the Penguin in a disguise that's still unconvincing but has a little more effort put into it.
The middle part with Wayne and Kitka bored me as a kid, but it gives West a chance to spend more time out of costume than is typical for the series. Why do the villains stop Bruce from using the transmitter when they were trying to lure Batman into their trap? And Bruce's fighting skills should draw a lot of suspicion to him...maybe it's the lack of visible sound effects that fools the bad guys.
Where's the camera for the pictures that the Bat-Scanner receives? The scanning probe on The Green Hornet is kind of magical and unconvincing, but at least you know where they're getting their picture from.
There's a mouthwatering lingering shot of Meriwether showing off her catsuited legs around 0:55:50. Romero even uses her legs as a bit of stage business, walking under them.
The whole dehydrator gimmick isn't only absurd, it's rather disturbing if given a moment's serious thought. How can they reconstitute the thugs when they have to use such crude means as sweeping their dusty remains off of a carpet, especially with Catwoman spilling them all over the place when pouring them into the vials? Why even have an option for heavy water to come out of what's supposed to be a drinking water dispenser? And of course, none of the depicted water containers have nearly enough capacity on display to account for so much body mass.
However, when Batman and Robin are separating the dehydrated United World delegates, the film actually touches upon the morality of genetic engineering in a roundabout way...and all for the sake of a "Gosh, yes, Batman, when you put it that way..." moment. That scene also gives us a shot of Batman with his glove off...which shouldn't be noteworthy, but other than utility belts occasionally being removed by villains, it's unusual for the series to ever show the Dynamic Duo partially uncostumed.
When they're driving the disguised Penguin around in the Batmobile, is Robin sitting in his lap?
"Quickly, via Batcycle to the Batcopter." Do they always have the Batcycle sitting there camouflaged by the road? If not, when did they have a chance to plant it? As a detour while they were taking the Bat-Gassed Penguin to the Batcave?
When the Batboat is going after the sub, those torpedo detonations were way too close...they should have still done some damage.
The Living End.....? Well, not while we've got two more seasons of the show, at least.
A couple of noteworthy genre guests, both uncredited: The Japenese diplomat is portrayed by Teru Shimada, who'd shortly go on to play Mr. Osato in You Only Live Twice. And the voice of LBJ is none other than the recently departed Van Williams, a.k.a. the Green Hornet.
[No noble porpoises or exploding octopuses were harmed in the making of this film.]
Released July 30, 1966
Outdoor location shooting! The debut of all of the other Bat-vehicles! Bigger, longer, and with four fiendish villains!
I didn't know what to make of this the first time I stumbled into a weekend airing already well in progress as a kid. It might have been nice if they'd reformatted it as a multi-part episode in syndication. I never knew when the movie might be on, and I don't think I ever had the opportunity to watch it all the way through until I was an adult.
Apart from the obvious signs of it being a bigger-budget movie, this installment is perfectly in stylistic sync with the series, right down to the sight-gag labels. It also demonstrates how a movie can balance the heroes and multiple villains if it doesn't delve into origin business.
Joker is definitely having a bad mustache day in cinematic quality. And between Catwoman's role in the film, all of the Penguin gimmickry, and so many riddles, Romero Joker's less distinctive motif gets him lost in the shuffle somewhat, relegated to firing torpedoes on command like a henchman. And performance-wise, he comes off as a straight man next to Gorshin's Riddler...an unbecoming role for the Joker to find himself in.
This installment gave us some of the most memorable bits of business from the West version of the Caped Crusader....
"Hand me down the Shark-Repellant Bat-Spray!" (4:56+)
"Some days you just can't get rid of a bomb."
And of course, the Foam Rubber Wholesalers Convention....
They show Bruce hitting the costume change lever on his way down the Batpole at multiple points in the film, so we know that however it works, it's a manually triggered mechanism. And isn't this the first time we see the Batpoles' steam lift?
So Robin isn't allowed to drive the Batmobile but he can fly the Batcopter? Granted it seemed to be partly automated, but he was definitely manning the controls per Batman's instructions.
I'd say they were reaching with how everyone realized that all four villains were working together, but it's a standard device in the series for the Dynamic Duo to figure out absurdly arcane clues...including some of the riddles in this installment.
Robin: "A sparrow with a machine-gun!"
Gordon: "Yes, of course."
"To the other new Bat-vehicle, fast!" It's telling how California-looking the Batboat pier is. They'd have to go out to Short Island (as we learn it's called in this very installment) to get to a pier on open ocean with no city in sight. Sandy Nose...Sands Point, perhaps?
Of course, a submarine pinging away with active sonar like that would be easy to trace. And it's supposed to be a pre-atomic sub, which matches the exterior set shots...but it has polaris missiles? Those were a new thing in the '60s and you'd definitely need a larger and newer sub to launch them. I don't see anywhere on the wood-planked deck for a missile to even launch from.
For all of TV Batman's respect for (often inept) law enforcement, the film isn't terribly flattering to the military in that scene of the Caped Crusader calling the admiral.
The Catwoman's secret identity--Maybe she's harder to recognize when she's not doing that weird thing with her eyebrows? What's more, in some scenes Meriwether's Catwoman voice has too much of Kitka's accent in it. Granted, the show always plays fast and loose with flimsy disguises and very distinctive villains passing themselves off as ordinary citizens. Here Alfred bothers to wear a mask while driving the Batmobile, which works by the show's absurd rules even though he's otherwise extremely recognizable. On the other hand, the Dynamic Duo instantly recognize the Penguin in a disguise that's still unconvincing but has a little more effort put into it.
The middle part with Wayne and Kitka bored me as a kid, but it gives West a chance to spend more time out of costume than is typical for the series. Why do the villains stop Bruce from using the transmitter when they were trying to lure Batman into their trap? And Bruce's fighting skills should draw a lot of suspicion to him...maybe it's the lack of visible sound effects that fools the bad guys.
Where's the camera for the pictures that the Bat-Scanner receives? The scanning probe on The Green Hornet is kind of magical and unconvincing, but at least you know where they're getting their picture from.
There's a mouthwatering lingering shot of Meriwether showing off her catsuited legs around 0:55:50. Romero even uses her legs as a bit of stage business, walking under them.
The whole dehydrator gimmick isn't only absurd, it's rather disturbing if given a moment's serious thought. How can they reconstitute the thugs when they have to use such crude means as sweeping their dusty remains off of a carpet, especially with Catwoman spilling them all over the place when pouring them into the vials? Why even have an option for heavy water to come out of what's supposed to be a drinking water dispenser? And of course, none of the depicted water containers have nearly enough capacity on display to account for so much body mass.
However, when Batman and Robin are separating the dehydrated United World delegates, the film actually touches upon the morality of genetic engineering in a roundabout way...and all for the sake of a "Gosh, yes, Batman, when you put it that way..." moment. That scene also gives us a shot of Batman with his glove off...which shouldn't be noteworthy, but other than utility belts occasionally being removed by villains, it's unusual for the series to ever show the Dynamic Duo partially uncostumed.
When they're driving the disguised Penguin around in the Batmobile, is Robin sitting in his lap?
"Quickly, via Batcycle to the Batcopter." Do they always have the Batcycle sitting there camouflaged by the road? If not, when did they have a chance to plant it? As a detour while they were taking the Bat-Gassed Penguin to the Batcave?
When the Batboat is going after the sub, those torpedo detonations were way too close...they should have still done some damage.
The Living End.....? Well, not while we've got two more seasons of the show, at least.
A couple of noteworthy genre guests, both uncredited: The Japenese diplomat is portrayed by Teru Shimada, who'd shortly go on to play Mr. Osato in You Only Live Twice. And the voice of LBJ is none other than the recently departed Van Williams, a.k.a. the Green Hornet.
[No noble porpoises or exploding octopuses were harmed in the making of this film.]
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Cassidy would not mention a lookalike. As a criminal on the run, he would find an intrusive reporter more than he can take, and (in all likelihood) become violent. For his trouble (if he survived) McGee would only think that he ran into a lookalike--not a dead man he has no reason to believe exists.
Most reviewers agree that Romero was short-changed in the film; he's not in a leadership position despite the group operating as equals.
The most memorable part of the film was West getting to shine as a dashing Bruce Wayne more than holding his own intellectually & physically against the henchmen. That was a treat rarely seen on the TV series.
Yes. Like many things, it was invented for the movie.
Perhaps one did not need to be a certain age to earn a helicopter pilot's license. Either way, Ward's Robin elevated the teenage sidekick on film, as he's quite capable of doing just about everything the senior hero can, while in the comics of the period, the sidekick (more often than not) was still someone to be caught and rescued.
That's Hollywood--or Greenway, since the TV series also painted the military as buffoons in season two's "Penguin Sets a Trend" where Bob (the voice of Filmation Superboy) Hastings behaved like he was too close to a blast or two during some war.
Caped Crusaders are not the only people with fighting skills. It's not as if Batman had a distinctive fighting style that's recognizable (think Spider-Man). For all they knew, he's just a rich guy who took some self defense classes.
If anyone can accept a rich guy with an active atomic reactor under his mansion (never mind how he obtained all it takes to construct a reactor), the entire dehydration technology should be accepted.
Bat-plot Convenience.
Chronologically the first of his Dozier work to be released, but he had already been cast as The Green Hornet by time the Batman movie was released.
Is there a minimum age for a pilot's license? Anyway, he was just holding it steady, wasn't he?
Catwoman only appeared once in the first season, and I'm pretty sure she was masked in all her scenes with Batman and Robin. So maybe they'd never seen her face. Although the movie was meant to come before the first season, which might be why it was written with the assumption that they wouldn't recognize Catwoman.
There was certainly a relationship between Punk and New Wave, but New Wave was more than a commercial rebranding. Punk took perverse pride in its own crudeness, both in terms of theme and aesthetics, whereas New Wave was far more sophisticated lyrically and far more experimental musically (and not just in terms of synthesizers). I feel that New Wave has more in common with Psychedelic Rock than Punk myself.
It's been a long time since we've seen traditional Zombies. Not that I don't like the Romero variety, but the Zombie Apocalypse has worn out its welcome big time-- I think most kids today don't even know what a "real" Zombie is.
Funny thing about the merits of punk: while several punk groups (and certain "journalists") often referred to The Who as a central influence, you could count on half of one hand the number coming within a country mile of Townshend's gifts as a songwriter.
Land of the Giants: "Target: Earth": A pretty good episode, with the leads coming into conflict over Mark's risky plan to help the giant scientists with their guidance system in exchange for a ride home to Earth. Although they overlooked an important issue. Steve was concerned about the risk of the giants turning them over to the SID (a risk that proved warranted, since the male scientist was the only one sincere about keeping his word to Mark), but the much bigger risk is giving this totalitarian government made up of 70-foot giants the technology to travel to Earth. Even with their relatively backward technology (obviously less backward in some ways than others), giving them a way to get to Earth creates an enormous (pun intended) risk of Earth being conquered. If anything, they had an obligation to destroy the guidance system.
It's unexpected that it portrays the giants' planet as another world in our Solar system, apparently, given that they name-dropped Mercury and Venus as well. Come to think of it, "On a Clear Day You Can See Earth" indicated the same. I'd been assuming this was some parallel dimension accessed through the space warps that Earth space and suborbital craft keep falling through. But now it's being presented as a relatively nearby planet. Could this be some '60s sci-fi version of Jupiter?
I like it that Fitzhugh, who was created as an attempt to duplicate Dr. Smith from Lost in Space, has ended up going in a less caricatured direction. He is still often portrayed as a bumbler and a greedy coward, but he's increasingly being shown to have more of a backbone and a sense of pride that can override his fear -- like here when he agrees with Mark that it's worth taking the risk to work with the giants, which is not the way I expected him to go. It's good that he has more than one dimension, because Kurt Kasznar makes him very sympathetic when he gets the chance to.
The Time Tunnel: "The Ghost of Nero": This show seems to be following the same route Doctor Who did a couple of years earlier -- getting tired of straight historical stories and beginning to inject more sci-fi/fantasy elements into them. Last week it was an alien invasion in the Old West, this week it's a ghost story in WWI. They had to invent some more imaginary history to make it work -- in reality, Nero died in a villa in a suburb of Rome and was despairing and suicidal rather than vowing ghostly revenge on Galba's descendants. (He was too afraid to commit suicide and tried to talk a friend of his into committing suicide first to help him work up the nerve. What a guy.) And the episode never adequately explained what Nero's tomb was doing in the ancestral villa of the Galba family anyway.
The advice offered by John Hoyt's psychic-phenomena expert was pretty silly too. They really played fast and loose with the definition of a poltergeist, conflating it with a vengeful spirit -- and the ghost was treated like an invisible corporeal person that Doug could even punch in the jaw. And it's amusing that, while the wind machines were blowing the Tic-Toc crew around in the Tunnel complex, Hoyt kept obsessively adjusting his combover. Was that his own insecurity, or just his character's?
It's also kind of creepy that apparently the Time Tunnel crew has the power to electrocute either Tony or Doug whenever they want. Plus, the bit about locking the Tunnel onto Nero's native time seems wrong -- before, they could only lock onto times and places in proximity to Tony and Doug, since they needed the radiation tags to get a lock.
Kolchak: The Night Stalker: “The Zombie”: Well, finally we get a killer whose victims are not sexy young women. But the episode still doesn’t treat its female characters very well, particularly poor Miriam. It’s rather unenlightened in its treatment of African-Americans, Haitians, and Italian-Americans too. I find it particularly disturbing that Kolchak defeats the (black) zombie by, essentially, lynching him. Even unintentionally, that’s in rather poor taste.
It's unexpected that it portrays the giants' planet as another world in our Solar system, apparently, given that they name-dropped Mercury and Venus as well. Come to think of it, "On a Clear Day You Can See Earth" indicated the same. I'd been assuming this was some parallel dimension accessed through the space warps that Earth space and suborbital craft keep falling through. But now it's being presented as a relatively nearby planet. Could this be some '60s sci-fi version of Jupiter?
I like it that Fitzhugh, who was created as an attempt to duplicate Dr. Smith from Lost in Space, has ended up going in a less caricatured direction. He is still often portrayed as a bumbler and a greedy coward, but he's increasingly being shown to have more of a backbone and a sense of pride that can override his fear -- like here when he agrees with Mark that it's worth taking the risk to work with the giants, which is not the way I expected him to go. It's good that he has more than one dimension, because Kurt Kasznar makes him very sympathetic when he gets the chance to.
The Time Tunnel: "The Ghost of Nero": This show seems to be following the same route Doctor Who did a couple of years earlier -- getting tired of straight historical stories and beginning to inject more sci-fi/fantasy elements into them. Last week it was an alien invasion in the Old West, this week it's a ghost story in WWI. They had to invent some more imaginary history to make it work -- in reality, Nero died in a villa in a suburb of Rome and was despairing and suicidal rather than vowing ghostly revenge on Galba's descendants. (He was too afraid to commit suicide and tried to talk a friend of his into committing suicide first to help him work up the nerve. What a guy.) And the episode never adequately explained what Nero's tomb was doing in the ancestral villa of the Galba family anyway.
The advice offered by John Hoyt's psychic-phenomena expert was pretty silly too. They really played fast and loose with the definition of a poltergeist, conflating it with a vengeful spirit -- and the ghost was treated like an invisible corporeal person that Doug could even punch in the jaw. And it's amusing that, while the wind machines were blowing the Tic-Toc crew around in the Tunnel complex, Hoyt kept obsessively adjusting his combover. Was that his own insecurity, or just his character's?
It's also kind of creepy that apparently the Time Tunnel crew has the power to electrocute either Tony or Doug whenever they want. Plus, the bit about locking the Tunnel onto Nero's native time seems wrong -- before, they could only lock onto times and places in proximity to Tony and Doug, since they needed the radiation tags to get a lock.
Kolchak: The Night Stalker: “The Zombie”: Well, finally we get a killer whose victims are not sexy young women. But the episode still doesn’t treat its female characters very well, particularly poor Miriam. It’s rather unenlightened in its treatment of African-Americans, Haitians, and Italian-Americans too. I find it particularly disturbing that Kolchak defeats the (black) zombie by, essentially, lynching him. Even unintentionally, that’s in rather poor taste.
However unlikely it is that Bruce Wayne has one, atomic reactors are a real thing. The dehydration technology doesn't exist, and even if it did, rehydration into a living, thinking being require massive suspension of disbelief...all the more so when it's highly unlikely that you'd manage to keep all of the person's dust together. Now if it changed people into little blocks shaped like RPG dice...that would be a bit easier to swallow.
It's all in the first video that I posted. Robin mans the controls, and Batman gives him orders like "increase sink rate" and "take her up"...seems like he was piloting it. OTOH, Robin leaves the cockpit to go down the ladder, so there's some auto-pilot in play there.
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I've been meaning to talk to you about that. After the explosion, your shed landed in my backyard. Please come haul it away.
(I need the space for my own atomic reactor.)
(I need the space for my own atomic reactor.)
The rebranding was successful...that's why that style was split off and renamed. The early new wave artists came from the punk scene and were considered punk acts at the time, before the new genre was named. I think that part of the problem is that the term "new wave" continued to get slapped on acts that came around too late, relatively speaking, to be considered part of a genre that had "new" in its name. In my own collection, such bands that come around 1982-ish and later tend to get labeled "synthpop" to distinguish them from the acts that were called "new wave" when it was actually something new.
https://en.wikipedia.org/wiki/New_wave_music
Probably the same people who call Led Zeppelin Heavy Metal. I don't really see The Who as an influence on Punk. The Troggs, maybe.
I'd find those blocks very hard to swallow.
Eh, "new" and "modern" are words that tend to get applied and stick long past their shelf life (19th-century Feminists are still called the New Woman and the Modern Lovers aren't so modern anymore). I think the early New Wave crowd was associated with Punk because there was no place else for them to be, because, aside from being new, they really didn't have much in common. As the quote says, Punk was more from the Garage Band scene whereas New Wave had the elements of experimentation and complexity that I mentioned. I kind of see them as diametrically opposed, myself.
^ I see what you're saying, but as far as applying the label to later artists goes...I find that there's a blurry threshold somewhere around '82 where the new synthpop acts feel less like part of the new wave that had come before and more derivative of it.
The point is that both Wayne having a reactor under his mansion (and somehow avoiding being considered a national security threat / buried under some federal prison) and the dehydration technology are both wild, unbelievable ideas through real world lenses. Within fantasy, both are acceptable, especially on a series as wild with inventions (e.g. anti-freeze tablets, radioactive spray, toe and heel rockets, etc.) as Batman.
Oh, sure, it evolved as new artists picked up on the traits and tropes the genre-- just like Elvis Presley and the Bruce Springsteen are both Rock'n'Roll. Then there was Folk Rock, Art Rock, Glam Rock....
This week, on The Incredible Hulk:
"Proof Positive"
Originally aired January 11, 1980
Events in the news the week that the episode aired:
New on the charts, as I promised (threatened?) RJD upthread:
"On the Radio," Donna Summer
(#5 US; #26 AC; #8 Dance; #9 R&B; #32 UK; Don't say I never do anything for you, man!)
Still having some space to play with...here's a continuation of last week's sampling of songs that could have been covered earlier in the series--all of these falling somewhere between Seasons 1 and 2:
"With a Little Luck," Wings
(Charted Mar. 25, 1978, the week that "Of Guilt, Models and Murder" aired; #1 US the weeks of May 20 and 27, 1978; #5 AC; #5 UK)
"You're the One That I Want," Olivia Newton-John & John Travolta
(Charted Apr. 1, 1978, the week that "Terror in Times Square" aired; #1 US the week of June 10, 1978; #23 AC; #1 UK)
"Miss You," The Rolling Stones
(Charted May 27, 1978, the week between the airings of "Earthquakes Happen" and "The Waterfront Story"; #1 US the week of Aug. 5, 1978; #6 Dance; #33 R&B; #3 UK; #496 on Rolling Stone's 500 Greatest Songs of All Time)
"Le Freak," Chic
(Charted Oct. 28, 1978, the week that "Another Path" aired; #1 US the weeks of Dec. 9, 23, and 30, 1978, and January 20 through Feb. 3, 1979; #48 AC; #1 Dance; #1 R&B; #7 UK)
And with these offerings we (mostly) bid adieu to the 1970s, forging ahead into the new decade....
"Proof Positive"
Originally aired January 11, 1980
Events in the news the week that the episode aired:
New on the charts, as I promised (threatened?) RJD upthread:
"On the Radio," Donna Summer
(#5 US; #26 AC; #8 Dance; #9 R&B; #32 UK; Don't say I never do anything for you, man!)
Still having some space to play with...here's a continuation of last week's sampling of songs that could have been covered earlier in the series--all of these falling somewhere between Seasons 1 and 2:
"With a Little Luck," Wings
(Charted Mar. 25, 1978, the week that "Of Guilt, Models and Murder" aired; #1 US the weeks of May 20 and 27, 1978; #5 AC; #5 UK)
"You're the One That I Want," Olivia Newton-John & John Travolta
(Charted Apr. 1, 1978, the week that "Terror in Times Square" aired; #1 US the week of June 10, 1978; #23 AC; #1 UK)
"Miss You," The Rolling Stones
(Charted May 27, 1978, the week between the airings of "Earthquakes Happen" and "The Waterfront Story"; #1 US the week of Aug. 5, 1978; #6 Dance; #33 R&B; #3 UK; #496 on Rolling Stone's 500 Greatest Songs of All Time)
"Le Freak," Chic
(Charted Oct. 28, 1978, the week that "Another Path" aired; #1 US the weeks of Dec. 9, 23, and 30, 1978, and January 20 through Feb. 3, 1979; #48 AC; #1 Dance; #1 R&B; #7 UK)
And with these offerings we (mostly) bid adieu to the 1970s, forging ahead into the new decade....
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