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The Classic/Retro Pop Culture Thread

The episode features outdoor shooting at the wreck of the Minnow.
Which I have mixed feelings about. The station that re-ran Gilligan when I was a kid seldom showed the early episodes, so it was quite a novel treat when I finally saw them. Yet I really like the stagey feel of the studio sets on these old shows.

and she's flirting with Gilligan.
There was definitely not enough flirting on the show. Although I would have preferred Mary Ann hooking up with the Professor. "And the rest" are my two favorite characters.

(Maybe she's just trying to get promoted to the opening credits.)
And it worked. It was actually Bob Denver, working quietly behind the scenes, who got them their screen credits. Another example of how nice these people were.

But as the patching job commences, the combination of glue and Gilligan proves to be catastrophic, as he gets stuck to the boat; the Skipper gets increasingly stuck to him trying to help; and the two of them together get stuck to the boat again.
That whole sequence is hilarious. Very Three Stooges. :rommie:

Gilligan goes into the boat to try to "save" it, and ends up standing in the middle of its remains, clutching the helm wheel.
I always found that scene very touching in its futility.

An attempt at family fishing goes awry, with the boys blaming the girls for scaring all the fish away, resulting in no useful catches for dinner.
Get with the 60s, Brady Kids.

The boys go running into the girls' tent, which collapses, but the desired quality of family togetherness is emphasized.
The family that is eaten by a bear together, dies together. Or something.

But they keep finding excuses to use the parents' phone in Mike's den, so he lays down a hard rule that they can't use it.
He can't just lock his den?

Apparently they're either getting charged for total calls or the kids are making a lot of toll calls--I wasn't sure which Mike was saying. He said it was five times the units they were allowed.
Mike seems a little well-to-do to be worrying about the phone bill.

Mike has to use the pay phone when the woman that Carol's been talking to, who's altering a dress for her, leaves the phone on her end without hanging up...I do remember how that used to be!
Me, too. In fact, I remember getting yelled at for it a few times. Like I can control what my stupid friends do. :rommie:

There should be a charge for clichés.
"That's another dollar for the jar, Carol."

I should note that both of these shows are Sherwood Schwartz productions, and they share a quality that seems relatively novel among the shows I've been watching from this era...they're both ensemble shows that focus their stories squarely on their main casts, with typically few or no guest stars.
Hmm. I'll have to give some thought to a Sherwood Schwartz-verse. I remember imagining a Gilligan's Island/It's About Time crossover when I was a kid, but maybe there are larger possibilities.

Hey, I thought you liked this show! :lol:
I love it, but I can't help giving it the MST3K treatment. It's not really a show that stands up to logical scrutiny. :rommie:

:lol: He's got Snoopy space in there!
That's exactly what I was thinking. :rommie:

I'm sure we're due for some epic recaps, at least!
Three episodes, seventy-five minutes of story. Hopefully Lee Meriwether is in most of them.
 
55 Years Ago This Week

Wiki said:
December 1
  • Gustavo Díaz Ordaz takes office as President of Mexico.
  • Vietnam War: U.S. President Lyndon B. Johnson and his top-ranking advisers meet to discuss plans to bomb North Vietnam (after some debate, they agree on a 2-phase bombing plan).
December 3
  • Berkeley Free Speech Movement: Police arrest about 800 students at the University of California, Berkeley, following their takeover of and massive sit-in at the Sproul Hall administration building. The sit-in most directly protested the U.C. Regents' decision to punish student activists for what many thought had been justified civil disobedience earlier in the conflict.
  • The Danish football club Brøndby IF is founded as a merger between the two local clubs Brøndbyøster Idrætsforening and Brøndbyvester Idrætsforening. The club wins the national championship Danish Superliga 10 times, and the Danish Cups six times, after joining the Danish top-flight football league in 1981.
Mark Lewisohn's The Beatles Day by Day said:
December 4 – First UK release of the Beatles for Sale LP.
Wiki said:
December 5 – Australian Senate election, 1964: The Liberal/Country Coalition Government led by Prime Minister Robert Menzies hold their status quo, while the Labor Party led by Arthur Calwell lose one seat to the Democratic Labor Party, who hold the balance of power in the Senate alongside independent Reg Turnbull.



Selections from Billboard's Hot 100 for the week:
3. "Leader of the Pack," The Shangri-Las
4. "She's Not There," The Zombies
5. "Baby Love," The Supremes
6. "Time Is on My Side," The Rolling Stones
7. "You Really Got Me," The Kinks
8. "Come See About Me," The Supremes
9. "Mountain of Love," Johnny Rivers
10. "I'm Gonna Be Strong," Gene Pitney
11. "Come a Little Bit Closer," Jay & The Americans
12. "Ask Me," Elvis Presley
13. "Dance, Dance, Dance," The Beach Boys

15. "I'm into Something Good," Herman's Hermits
16. "Last Kiss," J. Frank Wilson & The Cavaliers
17. "Goin' Out of My Head," Little Anthony & The Imperials
18. "Everything's Alright," The Newbeats
19. "Sha La La," Manfred Mann
20. "Big Man in Town," The Four Seasons
21. "The Jerk," The Larks
22. "I Feel Fine," The Beatles ***
23. "Walking in the Rain," The Ronettes
24. "Saturday Night at the Movies," The Drifters
25. "Sidewalk Surfin'," Jan & Dean
26. "Reach Out for Me," Dionne Warwick
27. "Ain't That Loving You Baby," Elvis Presley
28. "Have I the Right?," The Honeycombs
29. "Is It True," Brenda Lee

31. "Any Way You Want It," The Dave Clark Five
32. "Gone, Gone, Gone," The Everly Brothers
33. "Oh No Not My Baby," Maxine Brown
34. "Oh, Pretty Woman," Roy Orbison

38. "Too Many Fish in the Sea," The Marvelettes

43. "Amen," The Impressions
44. "Willow Weep for Me," Chad & Jeremy

46. "She's a Woman," The Beatles

49. "How Sweet It Is (To Be Loved by You)," Marvin Gaye
50. "As Tears Go By," Marianne Faithfull

55. "Keep Searchin' (We'll Follow the Sun)," Del Shannon

61. "Love Potion Number Nine," The Searchers

80. "Leader of the Laundromat," The Detergents

89. "Boom Boom," The Animals


Leaving the chart:
  • "Do Wah Diddy Diddy," Manfred Mann (13 weeks)
  • "I Don't Want to See You Again," Peter & Gordon (9 weeks)
  • "Let It Be Me," Betty Everett & Jerry Butler (13 weeks)
  • "Little Honda," The Hondells (12 weeks)
  • "We'll Sing in the Sunshine," Gale Garnett (17 weeks)

New on the chart:

"Boom Boom," The Animals
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(#43 US)

"Leader of the Laundromat," The Detergents
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(#19 US)

"I Feel Fine," The Beatles
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(#1 US the weeks of Dec. 26, 1964, through Jan. 9, 1965; #1 UK)

"She's a Woman," The Beatles
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(B-side of "I Feel Fine"; #4 US)

Not in my collection but topping the chart this week...I read that this song had originally been released on an album in late '63, but I can't help thinking that a certain 1964 phenomenon contributed to its success as a single:

"Ringo," Lorne Greene
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(Charted Oct. 31, 1964; #1 US the week of Dec. 5, 1964; #1 AC; #21 Country; #22 UK)


And new on the boob tube:
  • 12 O'Clock High, "Here's to Courageous Cowards"
  • Gilligan's Island, "Waiting for Watubi"

_______

Which I have mixed feelings about. The station that re-ran Gilligan when I was a kid seldom showed the early episodes, so it was quite a novel treat when I finally saw them. Yet I really like the stagey feel of the studio sets on these old shows.
I was wondering if it was an earlier-production episode, shot close to the first one.

There was definitely not enough flirting on the show. Although I would have preferred Mary Ann hooking up with the Professor. "And the rest" are my two favorite characters.
Nah, that would just be boxing them in together...they've gotta get out and mingle with the ones in the opening credits. There was a cute scene in "Goodbye Island" that had the Professor trying to smell the perfume Ginger was wearing and she thought he was making the moves on her.

And it worked. It was actually Bob Denver, working quietly behind the scenes, who got them their screen credits. Another example of how nice these people were.
My comment was informed by that.

Mike seems a little well-to-do to be worrying about the phone bill.
With six kids, I imagine the bills rack up fast.
 
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So I was checking the schedule at Mom's yesterday and I was pleased to see that Outer Limits has been added to the schedule on This-- until I realized that it's replacing Sea Hunt (and Bat Masterson, but that one didn't really grab me).

"Boom Boom," The Animals
Meh.

"Leader of the Laundromat," The Detergents
Cute, but not the best parody song ever.

"I Feel Fine," The Beatles
Good stuff.

"She's a Woman," The Beatles
More good stuff.

"Ringo," Lorne Greene
That was actually enjoyable. Certainly better than William Shatner and Greg Morris.

I was wondering if it was an earlier-production episode, shot close to the first one.
Yeah, I always figured it was part of the first group of episodes.

Nah, that would just be boxing them in together...they've gotta get out and mingle with the ones in the opening credits. There was a cute scene in "Goodbye Island" that had the Professor trying to smell the perfume Ginger was wearing and she thought he was making the moves on her.
I think the Professor is not the type to make the first move. :rommie:

My comment was informed by that.
Ah, okay.

With six kids, I imagine the bills rack up fast.
Good point. Doubling his family size probably wrecked his finances. :rommie:
 
50 Years Ago This Week

Wiki said:
December 1 – Vietnam War: The first draft lottery in the United States since World War II is held. September 14 is the first of the 366 days of the year selected, meaning that those persons who were born on September 14 in the years from 1944 to 1951 would be the first to be summoned. On January 4, 1970, The New York Times will run a long article, "Statisticians Charge Draft Lottery Was Not Random".
December 2 – The Boeing 747 jumbo jet makes its first passenger flight. It carries 191 people, most of them reporters and photographers, from Seattle to New York City.
December 4 – Black Panther Party members Fred Hampton and Mark Clark are shot dead in their sleep during a raid by 14 Chicago police officers.
December 5 – The Rolling Stones album Let It Bleed is released.
Coming Soonish, Album Spotlight, you know.
December 6
  • College football: #1 ranked Texas rallies from 14-0 deficit with two fourth quarter touchdowns to edge #2 Arkansas 15-14 at Fayetteville in a game attended by President of the United States Richard Nixon and several high-ranking government dignitaries, including future President George H.W. Bush. The victory clinches the national championship of the coaches poll for the Longhorns; they would win the Associated Press national championship by defeating Notre Dame 21-17 in the Cotton Bowl on New Year's Day.
  • The Altamont Free Concert is held at the Altamont Speedway in northern California. Hosted by The Rolling Stones, it is an attempt at a "Woodstock West" and is best known for the uproar of violence that occurred. It is viewed by many as the "end of the sixties."
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Selections from Billboard's Hot 100 for the week:
1. "Na Na Hey Hey Kiss Him Goodbye," Steam
2. "Leaving on a Jet Plane," Peter, Paul & Mary
3. "Come Together" / "Something", The Beatles
4. "Take a Letter Maria," R.B. Greaves
5. "Down on the Corner" / "Fortunate Son", Creedence Clearwater Revival
6. "And When I Die," Blood, Sweat & Tears
7. "Wedding Bell Blues," The 5th Dimension
8. "Yester-Me, Yester-You, Yesterday," Stevie Wonder
9. "Someday We'll Be Together," Diana Ross & The Supremes
10. "Eli's Coming," Three Dog Night
11. "Backfield in Motion," Mel & Tim
12. "Smile a Little Smile for Me," The Flying Machine
13. "Raindrops Keep Fallin' on My Head," B.J. Thomas
14. "Baby, I'm for Real," The Originals
15. "Cherry Hill Park," Billy Joe Royal
16. "Holly Holy," Neil Diamond
17. "Suspicious Minds," Elvis Presley
18. "Baby It's You," Smith
19. "Eleanor Rigby," Aretha Franklin
20. "Going in Circles," The Friends of Distinction
21. "Suite: Judy Blue Eyes," Crosby, Stills & Nash
22. "These Eyes," Jr. Walker & The All Stars
23. "Friendship Train," Gladys Knight & The Pips
24. "Midnight Cowboy," Ferrante & Teicher
25. "Heaven Knows," The Grass Roots
26. "Mind, Body and Soul," The Flaming Ember
27. "I Want You Back," The Jackson 5
28. "Whole Lotta Love," Led Zeppelin
29. "Up on Cripple Creek," The Band
30. "Undun," The Guess Who
31. "I Can't Get Next to You," The Temptations
32. "Sugar, Sugar," The Archies
33. "Groovy Grubworm," Harlow Wilcox & The Oakies

35. "A Brand New Me," Dusty Springfield
36. "Evil Woman, Don't Play Your Games with Me," Crow
37. "Jam Up and Jelly Tight," Tommy Roe
38. "Try a Little Kindness," Glen Campbell
39. "La La La (If I Had You)," Bobby Sherman

41. "Don't Cry Daddy" / "Rubberneckin'", Elvis Presley

43. "Ain't It Funky Now (Part 1)," James Brown
44. "Cold Turkey," Plastic Ono Band
45. "Reuben James," Kenny Rogers & The First Edition
46. "Kozmic Blues," Janis Joplin

48. "Early in the Morning," Vanity Fare

53. "Jingle Jangle," The Archies

56. "Jingo," Santana

65. "Ballad of Easy Rider," The Byrds

69. "Tonight I'll Be Staying Here with You," Bob Dylan

76. "One Tin Soldier," The Original Caste
77. "Volunteers," Jefferson Airplane

79. "Walkin' in the Rain," Jay & The Americans

81. "Wonderful World, Beautiful People," Jimmy Cliff

84. "Winter World of Love," Engelbert Humperdinck

91. "Look-Ka Py Py," The Meters

94. "She Came in Through the Bathroom Window," Joe Cocker

97. "Arizona," Mark Lindsay


Leaving the chart:
  • "Is That All There Is," Peggy Lee (10 weeks)
  • "Let a Man Come In and Do the Popcorn Part One," James Brown (8 weeks)
  • "Tracy," The Cuff Links (12 weeks)

New on the chart:

"Look-Ka Py Py," The Meters
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(#56 US; #11 R&B)

"She Came in Through the Bathroom Window," Joe Cocker
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(#30 US)

"Wonderful World, Beautiful People," Jimmy Cliff
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(#25 US; #6 UK)

"Winter World of Love," Engelbert Humperdinck
(#16 US; #3 AC; #7 UK)

"Arizona," Mark Lindsay
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(#10 US; #16 AC)


And new on the boob tube:
  • The Ed Sullivan Show, Season 22, episode 10, featuring Neil Diamond, Martin Brothers, Irwin C. Watson, Julie Budd, Sergio Franchi, and The Muppets
  • Mission: Impossible, "Robot"
  • Rowan & Martin's Laugh-In, Season 3, episode 12
  • The Mod Squad, "A Place to Run, a Heart to Hide In"
  • Ironside, "L'Chayim"
  • Get Smart, "Age Before Duty"
  • The Brady Bunch, "Every Boy Does It Once"
  • Hogan's Heroes, "The Empty Parachute"

_______

So I was checking the schedule at Mom's yesterday and I was pleased to see that Outer Limits has been added to the schedule on This-- until I realized that it's replacing Sea Hunt (and Bat Masterson, but that one didn't really grab me).
Sorry to hear about Sea Hunt. Maybe it'll be back.

Now, this is a perfectly good cover of a blues standard written and originally recorded by John Lee Hooker.

Cute, but not the best parody song ever.
It's not absolutely hilarious, but it has some goofy charm. Notable here is that the lead singer of the Detergents was Ron Dante, who'll go on to be the lead singer of the Archies and the Cuff Links.

Good stuff.
And so we come to the Beatles for Sale era (which will be divvied onto two American albums, Beatles '65 and Beatles VI). It's generally considered one of the group's weaker periods in Beatles scholarship, but I'm hoping that the real time immersive experience will shed new light on it. As for the single...the Beatles by this point were always looking for especially attention-grabbing opening hooks for their singles, and came upon the idea of deliberately using electronic feedback following a studio accident.
Wiki said:
"I Feel Fine" marks one of the earliest examples of the use of feedback as a recording effect in popular music. Artists such as the Kinks and the Who had already used feedback live, but Lennon remained proud of the fact that the Beatles were perhaps the first group to deliberately put it on vinyl.
"I Feel Fine" starts with a single, percussive feedback note produced by McCartney plucking the A string on his bass, and Lennon's guitar, which was leaning against McCartney's bass amp, picking up feedback. This was the first use of feedback on a rock record. According to McCartney, "John had a semi-acoustic Gibson guitar. It had a pickup on it so it could be amplified ... We were just about to walk away to listen to a take when John leaned his guitar against the amp. I can still see him doing it … it went, 'Nnnnnnwahhhhh!' And we went, 'What's that? Voodoo!' 'No, it's feedback.' 'Wow, it's a great sound!' George Martin was there so we said, 'Can we have that on the record?' 'Well, I suppose we could, we could edit it on the front.' It was a found object, an accident caused by leaning the guitar against the amp." Although it sounded very much like an electric guitar, Lennon actually played the riff on an acoustic-electric guitar (a Gibson model J-160E), employing the guitar's onboard pickup.

Later, Lennon was very proud of this sonic experimentation. In one of his last interviews, he said: "I defy anybody to find a record – unless it's some old blues record in 1922 – that uses feedback that way."

The single in general didn't used to strike me as being one of their stronger ones, but I gained a new appreciation for it years back when I heard a bootleg of just the rhythm track...it made for a very good instrumental.

RJDiogenes said:
More good stuff.
But fairly unremarkable in their repertoire up to this point. Of note...
Wiki said:
On the US charts, the song was the final of 11 top ten hits in the calendar year 1964, giving the Beatles an all-time record for most top ten hits in a calendar year on the Billboard Hot 100 charts by one artist/group (surpassed by rapper Drake in 2018). It was also the twelfth top 10 hit written by Lennon–McCartney, an all-time record for most top 10 hits in a calendar year on the Billboard Hot 100 by a songwriter.


RJDiogenes said:
That was actually enjoyable. Certainly better than William Shatner and Greg Morris.
Yeah, it kinda grows on me with listening. Green has a great narrating voice and I suppose it's not that different from "Big Bad John," which I do have. But at this point in rock/pop history, it feels a little too much like it's on the wrong side of the generational divide.
 
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"Look-Ka Py Py," The Meters
I keep waiting for the words to start, and then it's over.

"She Came in Through the Bathroom Window," Joe Cocker
Joe Cocker is in the house.

"Wonderful World, Beautiful People," Jimmy Cliff
This is pretty nice. I don't remember it at all.

Englebert is Englebert. Pleasant and hunky, but nothing great.

"Arizona," Mark Lindsay
This is a weird song. I always liked it, because it sounds great, but then the lyrics sunk in at some point. Is it an anti-Hippie song? Does he have a change of heart in the last verse? Or does his love for the girl just take precedence? I dunno.

Sorry to hear about Sea Hunt. Maybe it'll be back.
I've been thinking about getting the complete series set anyway. The show is such a weird mess. On Thursday, we watched an episode where Mike was competing with a very young Larry Hagman for a pretty young girl-- not really competing, though, because she hated Larry. Her elderly father scared away all the boys because he's "the best fighter in town" and beats the crap out of all of them. He likes Mike, because Mike saved his life, but threatens to beat him up anyway just for the fun of it. Meanwhile, Larry attacks Mike with a knife, but Mike befriends him and teaches him to fight. So Mike and Larry go to the house to woo the girl and Mike sees pictures of her lookalike older sister in the family album, who has since gained 60 pounds. He immediately tries to make his escape. Meanwhile, Larry uses his newfound fighting skills to beat the crap out of the old man, which impresses the girl and makes her fall in love with him. Close call, Mike! :rommie:

It's generally considered one of the group's weaker periods in Beatles scholarship
Weaker is relative, I guess. I think they're both strong songs.

As for the single...the Beatles by this point were always looking for especially attention-grabbing opening hooks for their singles, and came upon the idea of deliberately using electronic feedback following a studio accident.
I love happy accidents.

Yeah, it kinda grows on me with listening. Green has a great narrating voice and I suppose it's not that different from "Big Bad John," which I do have. But at this point in rock/pop history, it feels a little too much like it's on the wrong side of the generational divide.
Well, it's definitely retro, both then and now, but there's nothing wrong with it-- it's just a Western, which I enjoy in small doses.
 
_______

55th Anniversary Viewing

_______

12 O'Clock High
"Interlude"
Originally aired November 27, 1964
IMDb said:
Suffering from fatigue, General Savage is ordered to take leave and decides to pay a visit to sunny Scotland. On his way, he repeatedly bumps into a female British officer, Ann Macrae, who is returning to her home - accidental encounters that become increasingly awkward. Naturally, their animosity slowly turns to grudging tolerance, and then to fondness on the way to true affection. Against his better judgment, Savage finds himself falling in love, and Macrae is caught in the same web. Unfortunately, she is hiding a secret that will cast a terrible shadow over their budding relationship.

Yep, that's a different contributor...and I think I'll start using his more detailed synopses over the other guy's awkwardly constructed summaries.

This is an episode that really stood out for me the first time I saw it. After a particularly rough mission, Crowe orders Savage to take leave. When Savage asks the ticket clerk to take him as far as the train goes, the clerk recommends Dunfergus, an island off the coast of Scotland. We meet Macrae (Dana Wynter), a British Navy lieutenant, when she's being seen off tenderly by a tearful fellow female lieutenant and a couple of sailors, their demeanor clueing us in that there's something amiss with Ann. She and Savage end up in the same private compartment thanks to an overeager American sergeant who removed the reservation sign put up by the sailors. Savage and Macrae further get off on the wrong foot when he's helping her stow her things and a lurch causes the package of bacon that the other lieutenant had given Ann as a gift for her father to fall out a window that Macrae had opened against Savage's advice in order to vent his cigar smoke. (The bacon is treated as a valuable item, no doubt due to war rationing.)

At the station in Inverness, the general finds an American Army captain (Ken Berry of F Troop and Mama's Family) overseeing the loading of a supply of canned hams and pulls rank and a phoned favor with the captain's superior general in order to requisition one to replace the bacon. But while he's doing all this, Macrae disappears. At the dock for the ferry to Dunfergus, his efforts to find Ann having proven unsuccessful, Savage gives the ham to a young boy who's gathering what I assume are coals.

In the ferry's dining room, Savage finds himself seated with Macrae. She thinks he's been following her because she heard that he'd been asking about her back at the station. He explains about the ham, which initially impresses her, causing her to remark that you couldn't get a 10-lb. ham in Inverness for the Crown Jewels. Then she's skeptical once again when Savage tells her that he gave it away, but a steward who was there on the dock later confirms the general's story. Frank and Ann have just made a truce when we see her having an attack of pain in her cabin, for which she takes pills.

At Dunfergus, Ann's father (Rhys Williams) meets them, Ann having arranged for Savage to stay with them. In private, Mr. Macrae comments to Ann about recognizing the look of emotional emptiness in Savage that he often sees in men who've seen combat. A montage sequence follows that shows Frank and Ann spending time together, following which they have a conversation in which she asks Savage when he last cried. The scene ends with their first kiss.

All of this was the first three acts...Act IV is nearly half the episode in running time. Ann makes plans to accompany Frank to Glasgow for the last few days of his leave. While Savage isn't around, Ann has another attack and her father reveals that he knows of her condition. She doesn't want Frank to know that she has little time left, asserting her right to be a little selfish against her father's caution about how it might affect Savage. But after a party that her father throws for her, Ann shows Frank a garden she's planted and tells him that she won't be going to Glasgow. Frank says that he understands, and offers that their relationship couldn't go on because of the war, but he doesn't suspect why she gives him such a tearful farewell. After Frank leaves, Mr. Macrae and Ann's doctor, who was at the party, find her lying unconscious in the garden.

At the dock we find that Savage has arranged with the ferry steward to procure another ham, which he runs back to the Macrae home, as the ferry will be leaving in a half hour. Mr. Macrae and the doctor tell him that Ann is dying of carcinoma. He goes up to see her in her bed, but maintains the pretense that he doesn't know what's really wrong with her. She gives him a scarf that belonged to her mother, and he gives her the wings off his uniform. They say their last, tender goodbyes, hers very tearful, while he remains stony-faced. Soon after he gets downstairs, the nurse cries down for the doctor, having found Ann dead.

Savage and Mr. Macrae have a last conversation over Ann's garden.

Adam Macrae: I suppose there's still a bit of hope for the human race, as long as people keep planting gardens.
Frank: She'll never see it.
Adam: Aye, but that's the whole point of it...the future, man. You do what you can to make things better, prettier. Isn't that why you're wearing that uniform? Isn't that what it's all about...so something better can come after? Look there, man...a wee sprig of green, already.​

Adam leaves Frank alone in the garden, and Savage's tears finally flow.

The Epilog finds Savage back on the airfield at Archbury, climbing into the Piccadilly Lily wearing the scarf that Ann gave him.

Dana Wynter will be returning as another love interest of Savage's, in an episode that I believe I covered here following my previous viewing, "The Cry of Fallen Birds"...the one where he meets her character after he crashes the Lily on her manor's grounds.

_______

Gilligan's Island
"The Big Gold Strike"
Originally aired November 28, 1964
Wiki said:
Mr. Howell and Gilligan discover a gold mine on the island and soon greed and 'gold fever' overcome the castaways.

Gilligan literally falls into the cave with gold ore in the walls while playing caddy and trying to find Mr. Howell's golf ball. Mr. Howell cannily tells Gilligan to keep it between themselves because of what gold fever can do to people. Meanwhile, the Skipper, Ginger, and Mary Ann are fishing (shoulda thought of that a couple episodes back) and pull in the life raft from the Minnow. What happens next makes no sense. The logical, real-world thing to do in this situation would be to continue to keep mum about the gold mine, get rescued, and come back to stake a claim on the island. Instead, Howell thinks he's in a race against time to have Gilligan--alone--mine the gold before they leave the island. To that effect, Howell tries to stall the repair of the life raft.

The others gets suspicious and the Skipper, following Gilligan at night, falls into the mine while Gilligan's working in it. (Gilligan's wearing a nifty makeshift miner's hat made of a pot, a shell, and a candle.) The others readily admit that they've got gold fever, and prove unable to get Mr. Howell to share his mined gold or to strike their own, so they turn to gouging Mr. Howell by selling him supplies at outrageous prices.

When the castaways are ready to make their escape attempt, each attempts to smuggle their own stash of gold onto the raft--including the Professor and the Skipper, who laid down the rule that no gold could be brought aboard. This causes the raft to sink to the bottom of the lagoon.

In some scenes Ginger's wearing a plain white dress that has S.S. Minnow written down the side...I assume this was crafted from something they salvaged to give her an alternative to always wearing an evening gown.

At one point Mr. Howell is talking to Gilligan while Gilligan's working under the raft, and sees Gilligan's upper body and the Professor's feet at the same time. Assuming that the feet are Gilligan's, he says something about getting Gilligan on Ed Sullivan.

In contrast to the makeshift mining hat, the castaways have multiple real-looking pick-axes for some reason.

_______

I keep waiting for the words to start, and then it's over.
The album this is from made it onto the Rolling Stone list, but I chose to bypass it because it barely made a blip on the album chart back in the day. Getting the single was my concession.

Joe Cocker is in the house.
I see what you did there!

This is pretty nice. I don't remember it at all.
Another early reggae hit.

Englebert is Englebert. Pleasant and hunky, but nothing great.
Now if I'd bought this, my weekly playlist would have become a Winter World of Horror.

This is a weird song. I always liked it, because it sounds great, but then the lyrics sunk in at some point. Is it an anti-Hippie song? Does he have a change of heart in the last verse? Or does his love for the girl just take precedence? I dunno.
The only Top 20 solo hit by the lead singer of Paul Revere & the Raiders, and a decent but unremarkable bit of pop. I don't think he has a change of heart, he's just saying she can leave her hippie lifestyle, settle down with him, and still retain her ideals.

I've been thinking about getting the complete series set anyway. The show is such a weird mess. On Thursday, we watched an episode where Mike was competing with a very young Larry Hagman for a pretty young girl-- not really competing, though, because she hated Larry. Her elderly father scared away all the boys because he's "the best fighter in town" and beats the crap out of all of them. He likes Mike, because Mike saved his life, but threatens to beat him up anyway just for the fun of it. Meanwhile, Larry attacks Mike with a knife, but Mike befriends him and teaches him to fight. So Mike and Larry go to the house to woo the girl and Mike sees pictures of her lookalike older sister in the family album, who has since gained 60 pounds. He immediately tries to make his escape. Meanwhile, Larry uses his newfound fighting skills to beat the crap out of the old man, which impresses the girl and makes her fall in love with him. Close call, Mike! :rommie:
That reminds me of the Gomer Pyle that I just saw on Me last night, which has Sgt. Carter trying to avoid a blind date with Gomer's visiting cousin because he's afraid she'll be hideous. He gets lured in after a couple of fake-outs when he circumstantially sees Gomer with gorgeous women whom he initially assumes are the cousin.
 
Last edited:
December 1 – Vietnam War: The first draft lottery in the United States since World War II is held. September 14 is the first of the 366 days of the year selected, meaning that those persons who were born on September 14 in the years from 1944 to 1951 would be the first to be summoned.
Hope I'm not repeating myself here, but my draft lottery number was 10, which meant that I was certain to be drafted. That was the purpose of the lottery, supposedly, to take out the uncertainty of whether or not you'd be selected.

Soon after the lottery, my II-S school deferment was rescinded and I was reclassified 1-A, which meant I was eligible for induction. Soon after that, I was called in for a physical. Two things kept me out of the army; that the war was winding down and I was older that the army wanted it's new young killers to be.
"I Feel Fine," The Beatles
Yeah, Beatles 65 and Beatles VI was not the band's most creative albums, but that didn't stop me from still loving them. I Feel Fine had that great lead riff played by George out of the feedback. In fact his lead playing throughout the song was some of his best to date, IMO.
"She's a Woman," The Beatles
Song had an unusual sound for a Beatles song, I always thought. The staccato guitar riff, Paul singing the entire song in the upper register of his voice without going into falsetto), etc. But Woman had the signature McCartney melodic dexterity. They always performed it in cconcerts.
 
This is an episode that really stood out for me the first time I saw it.
Certainly a change of pace.

At the station in Inverness, the general finds an American Army captain (Ken Berry of F Troop and Mama's Family)
Interesting. I'm not sure if I've ever seen Ken Berry in a dramatic role.

Adam leaves Frank alone in the garden, and Savage's tears finally flow.
I really dislike the trope of the terminal love interest who doesn't survive the episode, but they did turn it into a nice wartime message.

What happens next makes no sense.
You'll be using that phrase a lot. :D Since the island is volcanically active, we could say that there are constantly fumes seeping up through the ground that affects their mental state.

This causes the raft to sink to the bottom of the lagoon.
For once, it's not Gilligan's fault.

In some scenes Ginger's wearing a plain white dress that has S.S. Minnow written down the side...I assume this was crafted from something they salvaged to give her an alternative to always wearing an evening gown.
I think she originally had a shortage of clothes before they decided she had brought an endless supply with her on the three-hour cruise.

At one point Mr. Howell is talking to Gilligan while Gilligan's working under the raft, and sees Gilligan's upper body and the Professor's feet at the same time. Assuming that the feet are Gilligan's, he says something about getting Gilligan on Ed Sullivan.
And Gilligan casually ties the Professor's sneaker while talking to Mr Howell. :rommie:

Now if I'd bought this, my weekly playlist would have become a Winter World of Horror.
:rommie:

I don't think he has a change of heart, he's just saying she can leave her hippie lifestyle, settle down with him, and still retain her ideals.
Yeah, that fits.

That reminds me of the Gomer Pyle that I just saw on Me last night, which has Sgt. Carter trying to avoid a blind date with Gomer's visiting cousin because he's afraid she'll be hideous. He gets lured in after a couple of fake-outs when he circumstantially sees Gomer with gorgeous women whom he initially assumes are the cousin.
It seemed so out of character for Mike, until we remembered that, in all the episodes we've seen, it's only been implied that he might have had one relationship with a woman ever. I guess he spends too much time way down below the ocean. :rommie:
 
_______

50th Anniversary Viewing

_______

Mission: Impossible
"Mastermind"
Originally aired November 23, 1969
Wiki said:
Paris convinces a mob figure that he can read the mind of his double-crossing boss, while Barney attempts to steal an incriminating file from the boss's safe.

The miniature reel-to-reel tape under the parrot cage on the sailing ship Buccaneer Queen said:
This tape will self-destruct in five seconds. Good luck, Jim!

This one has multiple guest agents, none of whom get guest star billing in the portfolio sequence, including Dr. Irving Berman (Ben Wright; the only one at the briefing), pharmacologist Thomas Galvin (Gerald Hiken), Nurse Larkin (Alice Reinheart), and Phillip's Maintenance Service, which does window washing.

Willy gives Syndicate honcho Jonas Stone (Paul Stewart) a high-pressure insulin dose on an elevator via a trick cigarette lighter. Stone is holding a dossier of blackmail information that was compiled by his protege, Lou Merrick (Donnelly Rhodes), but even Merrick hasn't been entrusted to the combination of Stone's safe. Merrick wants Stone to expand his operation to include narcotics, but Stone is against it. Dr. Jim, from the Institute of Cerebral Research (to which Stone donates money for tax purposes), is visiting Stone--ostensibly on behalf of Dr. Berman--when Stone collapses from the insulin.

Dr. Jim accompanies Stone on the ambulance while Barney, assisted by Phillip (I presume), uses a suction cup handle to get into the window of Stone's empty office from the window-washing platform. There Barney erects a false two-way mirrored wall to the side of Stone's bar, where he conceals himself. Barney's in there while Galvin visits the office and Willy calls, both ostensibly wanting to talk to Stone but talking to Merrick in his absence and dropping hints of a pharmaceutical-related deal. Afterward, Barney goes to work on the actual wall inside the fake wall, breaking into the back of the wall safe in the next room to both switch out the blackmail documents and change the combination.

Stone is put in an iron lung under the care of Dr. Berman, whom we were told in the briefing would be keeping Stone under with sedatives. While Berman's not there, Dr. Jim brings in a non-medical visitor, Psychic Paris, against the fake protests of Nurse Larkin. Merrick's man who's guarding the room goes in to find Paris hooked to Stone via an EEG machine. Merrick comes running to find out what's going on, which is when Paris fakes receiving thoughts from Stone while Jim surreptitiously gives Stone little jolts to jerk his head around. While at the hospital, Merrick picks up some deliberately dropped clues that lead him to Willy, who's posing as the pharmaceutical lab scientist who's supposed to be manufacturing heroin for Stone.

Merrick returns to Stone's room and confronts Paris at gunpoint, at which point Paris goes full mind meld with Stone, sans the machine hookup...effectively, playing Stone supposedly talking through Paris, sharing details about the fake narcotics operation. When they're gone, Berman brings in Merrick's rival, Nicholson (William Bryant), and feigns lack of knowledge of what Dr. Jim has been doing, indicating that Dr. Jim was brought in by Merrick and that Stone has been drugged. Berman revives Stone, who now thinks that Merrick has betrayed him.

Meanwhile, Merrick brings Paris to open Stone's safe to retrieve the money for the narcotics deal...but Barney hasn't finished changing the combination, having been delayed by an underling who likes to sneak drinks from the bar when nobody's around. Barney signals Paris via an electric shock through the safe, and Paris stalls by improvising that his mind meld is slipping. Once they've got the money, Galvin visits to take it while Barney's making his escape from the opposite room. Merrick then brings in an underling to dispose of Paris, but down in the lobby, Jim comes to his rescue with some good ol' TV Fu.

Stone goes to his office with Nicholson to confront Merrick, finding the safe and the folder of blackmail documents both empty. The IMF listens in via bug as Nicholson shoots Merrick.

This one was worth it for the sight of Nimoy hooked up to the EEG machine.

_______

Rowan & Martin's Laugh-In
Season 3, episode 11
Originally aired November 24, 1969
The Wiki list of guest appearances said:
Michael Caine, Sammy Davis Jr., Tennessee Ernie Ford, Debbie Reynolds, Davy Jones

Yes, Virginia, there is a Sammy Davis Jr.!
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Sammy introduces Potpourri:
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Sammy does a "Here comes the judge"-style news intro (couldn't find a clip).

Sammy, Arte, and Henry sing about being short:
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One bit in a series of shootout gags:
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Davy pops up briefly in the Quickies, in a bit that was likely filmed for one of his previous appearances.

_______

TGs4e11.jpg
"Kiss That Girl Goodbye"
Originally aired November 27, 1969
Wiki said:
Donald has a chance to get a job in Paris and worries about leaving Ann.

Ann and Donald are eating at their favorite restaurant again (which is called Nino's) when Donald is approached by a man who seems to know a lot about him named Bob Harrison (Mark Miller). Harrision leaves his card, and Donald realizes afterward that he's a big publishing magnate.

When they return to Ann's apartment, they think there's a burglar inside, so Donald readies his own TV Fu...
TGmisc23.jpg
...but it turns out to be Mr. Marie, who's in town for a convention (like he needs an excuse at this point).
Lew said:
Is that some kind of a hippie greeating? You mighta killed me!


Donald has lunch with Harrison at Nino's and is offered an associate editorship that would involve working in Paris for 18 months. Donald has to tell Ann about it while he's on the run, and then when Jerry finds out about it, he likes the idea so much that he gives Ruthie the impression that Donald definitely wants to do it, which gets to Ann. To makes things worse, Ann gets an out-of-context phone message from Donald's secretary indicating that he's taking an associate editor job and bringing the secretary with him. Mr. Marie's actually mellowing out some, as he tries to encourage Ann by standing up for Donald's integrity. When Donald comes over, he keeps the drama going by telling Ann the same things that the secretary did, without even considering that she'd assume he's talking about the Paris offer...it turns out that he got a better deal for the same position at NewsView.

"Oh, Donald" count: 7
"Oh, Daddy" count: 2

_______

Ironside
"Five Miles High"
Originally aired November 27, 1969
Wiki said:
Ironside shares a flight with a witness ready to testify against a racketeer—and an unknown gunman.

The episode opens with Team Ironside rounding up their reluctant witness, Jack Brady (Milton Selzer), in Hawaii. At the airport lounge, Ironside runs into an acquaintance, sports writer Frank Bolan (former It's About Time co-star Frank Aletter), who's ostensibly covering Jimmy Otis (Robert Do Qui), a fighter who's lost his title, but is more interested in getting details of what Ironside is up to. Brady, accompanied by his jaded and weary wife, Linda (Norma Crane), is suffering from an ulcer that he hasn't been helping by hitting the bottle hard. In the first class lounge of the plane, Ironside intervenes in an attempt at getting to Brady through his scotch by lacing it with chloral hydrate, which Bolan apparently fall victim to but recovers, as the attempt was tailored at exploiting Brady's ulcer. There are a couple of suspects on the plane with a connection to Lou Coster, the underworld figure against whom Brady is supposed to testify in front of a grand jury in Frisco: Irene Wilson (Dorotohy Green), whose deceased husband was investigated years back by then-detective Ironside in connection with crooked horse racing; and Jimmy's manager, Sid Leppich (Joe Mantell), in whose bag Mark find the chloral hydrate.

Questioned by the Chief, Leppich indicates that he had the chloral hydrate in case he needed to knock out Jimmy for his own good, because of his tendency to not want to go down. Ironside subsequently learns that Coster has an open contract out on Brady, making anyone on the plane a suspect. The Chief subsequently exposes the plane's captain (Regis Cordic) as being an imposter, though he strikes the Chief as an opportunist looking for a cut rather than the actual hitman.

While the passengers are watching a Don Knotts film, Ironside catches Bolan sneaking into the lounge, where the Bradys are sleeping. The Chief has surmised that Bolan has been serving as Coster's go-between in his bookie operation, and exposes that his pen has a hypodermic needle in it. In good detective fashion, the Chief was giving Bolan the opportunity to make another move.
Ironside said:
You know, I got a bit suspicious right off when...
...when he was the only guest billed after the opening credits? Yeah, me too. Anyway, Bolan pulls a gun, but Mark comes up from behind the compartment-separating curtain and disarms him.

_______

Get Smart
"The Apes of Rath"
Originally aired November 28, 1969
Wiki said:
Six CONTROL agents have been murdered in the last month by someone with incredible strength. The only clue is that each agent received a banana in the mail the morning that they were killed. It is soon deduced that the killer is an ape. 99 alerts Max that he has received a banana, prompting the Chief to assign Agent 77, Chuck Armstrong, to protect Max. Unfortunately, Agent 77 has his own issues to deal with, of which he himself is unaware. The episode title is a takeoff on The Grapes of Wrath but the episode itself is a takeoff on The Murders in the Rue Morgue, with a famous line from King Kong thrown in at the very end.

CONTROL comes to believe that they're dealing with an ape, but we learn that the killer is Agent 77 (Charles Bateman), who's actually an ape who's been altered by KAOS's Dr. Rath (Reuben Singer) to look and act human...except when Bateman is doing his ape impression, which fills a lot of time.

Cronin (Bob Carroll): Absolutely amazing.
Dr. Rath: I'll tell you what else is amazing, Cronin....That you and I can be here like this and converse in a German accent for hour after hour and neither one of us is German.​

99 and the twins are home now. When 77 makes his attempt on Max, he carries off 99 Fay Wray-style, having taken a shine to her. Max goes up to the rooftop to rescue her, aided by...
Max said:
That's right, Armstrong--the old "fake fingertips on the fire escape" trick!
Max is unable to harm Armstrong with any weapons of opportunity, but when Armstrong moves to attack Max, he slips on his own banana peel and falls off the ledge (to the sound of a Tarzan yell). When Max says that Beauty killed the beast, he's referring the brand name of the banana.

_______

Hogan's Heroes
"The Defector"
Originally aired November 28, 1969
Wiki said:
Defector Field Marshal Rudolph Richter (Harold J. Stone) panics when the Gestapo comes for him and flees to Stalag 13 days before Hogan is prepared to smuggle him out of Germany.

Richter's secretary, Gretchen (Arlene Martel, in one of two roles in the show other than the recurring character of Tiger), arranges for the prisoners to help him escape while he visits Stalag 13, though Hogan is skeptical about how they could pull it off given his recognizability. Then the visit is moved up without warning, because the Gestapo is closing in on Richter.
Hogan said:
I hate a war where people drop in unexpectedly.

Hogan is invited to have dinner with Richter and Klink.

Richter: You are the first American officer I have ever met. Very interesting. I would like to meet more of you.
Hogan: Oh, you will. General Eisenhower is arranging it right now.​

But our favorite Gestapo officer crashes the occasion...

Hochstetter said:
My superiors in Berlin feel that there are two dangers to the Third Reich: the Allies and Colonel Klink.
But Hochstetter needs to get Klink out of the room to clue him in as to what's going on, so he has to switch tactics...
A wincing Hochstetter said:
There has been an escape from Stalag Four. I need your...expert assistance.

The prisoners' plan to fake Richter's death includes...Newkirk disguising himself as a guard! You know, like he does all the time. And Richter, dressed as an American prisoner, being snuck into the cooler. And a dummy dressed in Richter's uniform, which rolls away in his staff car. When Hochstetter tries to shoot out the tires, a bomb planted in the car goes off, making it look like Hochstetter hit the fuel tank.

DISSS-missed!
_______

Adam-12
"Log 123: Courtroom"
Originally aired November 29, 1969
Wiki said:
Reed and Malloy are accused of overstepping the parameters of a search warrant by a suspect found to be in possession of illegal drugs.

Reed and Malloy are going through traffic warrants to follow up on during their patrol when Malloy recognizes one of the names, James Llewelyn Brown (William Traylor), as belonging to someone he'd busted for possession a couple years prior. They decide to focus on him, and he attempts to flee as soon as he opens his door and sees them. They have a legal right to arrest him for the warrant despite his protests. But Reed goes back inside the house against further protests to make sure the back door is locked and finds narcotics and pill-manufacturing equipment in the kitchen. This falls in a gray area of search and seizure protocol.

In the titular venue, Brown's attorney is Dudley Gray (Phillip Pine), whom Malloy recognizes as a good lawyer despite his unpopularity with the police; while the attorney in the officers' corner is Richard Combest (Roger Perry) from the DA's office. Gray's line of defense emphasizes that Brown tried to stop Reed from going to the back door, telling him that the door was already locked. He also cites a prior court decision that limits an officer's right to search to the immediate area of the arrest. The judge rules that the contraband found by Reed is inadmissible as evidence, and the case is promptly dismissed for lack of evidence...though the judge gives Brown a lecture about how fortunate he is that the law was on his side in this matter.

In the coda, Gray doesn't seem personally pleased at his victory, and reaches out to Reed to explain his role as the defense attorney. He then shakes hands with Combest and the credits roll.

_______

Hope I'm not repeating myself here, but my draft lottery number was 10, which meant that I was certain to be drafted. That was the purpose of the lottery, supposedly, to take out the uncertainty of whether or not you'd be selected.

Soon after the lottery, my II-S school deferment was rescinded and I was reclassified 1-A, which meant I was eligible for induction. Soon after that, I was called in for a physical. Two things kept me out of the army; that the war was winding down and I was older that the army wanted it's new young killers to be.
Can't recall it having come up. Glad you're with us!

Yeah, Beatles 65 and Beatles VI was not the band's most creative albums, but that didn't stop me from still loving them.
I don't mean to be too hard on the Beatles for Sale material...it has its high points, including the first obvious signs of Dylan influence on John's songwriting. But going through their British catalogue chronologically, it always tended to feel like a regression, the way they went back to doing half an album of covers in particular. The general Beatles scholarship narrative is that they were just plain exhausted at this point, given what a busy year it had been for them. Maybe following along the way the material was presented in America, divided between two albums, will do it some favors.

Also, back to the new single...being used to the British album masters, I can't help noticing that Capitol sure put a lot of echo on the songs. It sounds like I'm listening to the Beatles from the next room.

Interesting. I'm not sure if I've ever seen Ken Berry in a dramatic role.
It was a small part and relatively comic relief...he got to be flustered when he tried to blow Savage off and then looked up from his clipboard to see that he was talking to a general.

For once, it's not Gilligan's fault.
That's right...I neglected to mention that Gilligan was the only one who didn't try to take any gold.
 
and Phillip's Maintenance Service, which does window washing.
That should make people suspicious right there.

There Barney erects a false two-way mirrored wall to the side of Stone's bar, where he conceals himself.
I'm trying to picture this. Wouldn't everybody notice that the room suddenly got considerably smaller?

Merrick's man who's guarding the room goes in to find Paris hooked to Stone via an EEG machine.
That's a bit hard to picture as well. :rommie:

while Jim surreptitiously gives Stone little jolts to jerk his head around.
Bzzt! "Oh, that was a good one. Let's see if we can make him stick out his tongue." Bzzt!

Barney signals Paris via an electric shock through the safe
Bzzt!

The IMF listens in via bug as Nicholson shoots Merrick.
Things seem to work out that way quite frequently.

I don't recognize that model. :rommie:

Yes, Virginia, there is a Sammy Davis Jr.!
And he got it socked to him.

...but it turns out to be Mr. Marie, who's in town for a convention (like he needs an excuse at this point).
This dude really loves comic books.

Donald has lunch with Harrison at Nino's and is offered an associate editorship that would involve working in Paris for 18 months.
Harrison is actually with the IMF and this is all part of Jim's plan....

"Five Miles High"
That title is kinda for the Byrds.

The Chief subsequently exposes the plane's captain (Regis Cordic) as being an imposter
Ingenious! All he has to do to kill his target is not know how to fly a plane.

Ironside catches Bolan sneaking into the lounge, where the Bradys are sleeping.
For a brief fraction of a second, I thought we were about to have the oddest crossover of all time.

"The Apes of Rath"
The synopsis writers are definitely getting better.

CONTROL comes to believe that they're dealing with an ape, but we learn that the killer is Agent 77 (Charles Bateman), who's actually an ape who's been altered by KAOS's Dr. Rath (Reuben Singer) to look and act human...
Now there's a line of research usually restricted to small, privately owned islands outside the three-mile limit.

Dr. Rath: I'll tell you what else is amazing, Cronin....That you and I can be here like this and converse in a German accent for hour after hour and neither one of us is German.​
Verrry interesting. But shtupid.

The prisoners' plan to fake Richter's death includes...Newkirk disguising himself as a guard! You know, like he does all the time.
I wonder if the other guards miss him when he's just being Newkirk.

And a dummy dressed in Richter's uniform, which rolls away in his staff car. When Hochstetter tries to shoot out the tires, a bomb planted in the car goes off, making it look like Hochstetter hit the fuel tank.
Good thing the science of forensics is unknown to Nazis.

The judge rules that the contraband found by Reed is inadmissible as evidence, and the case is promptly dismissed for lack of evidence...
I think things started to go wrong when they decided to hassle the guy based on a traffic ticket.

In the coda, Gray doesn't seem personally pleased at his victory, and reaches out to Reed to explain his role as the defense attorney.
Somebody's got to do it, or the system doesn't work.

That's right...I neglected to mention that Gilligan was the only one who didn't try to take any gold.
If nothing else, Gilligan is pure of heart.
 
50th Anniversary Album Spotlight

The Band
The Band
Released September 22, 1969
Chart debut: October 18, 1969
Chart peak: #9, February 7, 1970
#45 on Rolling Stone's 500 Greatest Albums of All Time
Wiki said:
The Band is the second studio album by the Band, released on September 22, 1969. It is also known as The Brown Album. According to Rob Bowman's liner notes for the 2000 reissue, The Band has been viewed as a concept album, with the songs focusing on people, places and traditions associated with an older version of Americana. Thus, the songs on this album draw on historic themes for "The Night They Drove Old Dixie Down", "King Harvest (Has Surely Come)" and "Jawbone" (which was composed in the unusual 6/4 time signature).

"Across the Great Divide" is an attention-grabbing opening, with a mostly upbeat tone juxtaposed against a beginning and ending involving a woman named Molly holding a gun on the narrator:
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If I had to glean my own interpretation of the lyrics, I'd say that she's a little pissed that he's been wandering around experiencing America without her.

The song that will be the album's second single, "Rag Mama Rag" (charts Feb. 14, 1970; #57 US; #16 UK), sounds distinctive with its fiddle, mandolin, and of course, ragtime piano. In contrast with the previous song, it seems to be about a wandering woman, perhaps getting into some trouble...the imagery in the opening verses suggest an old-style damsel in distress from a silent movie, tied to the railroad tracks.
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Generally considered a highlight of the album, "The Night They Drove Old Dixie Down" was the B-side of "Up on Cripple Creek," and ranks #245 on Rolling Stone's 500 Greatest Songs of All Time:
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Wiki said:
The lyrics tell of the last days of the American Civil War, portraying the suffering of the protagonist, Virgil Caine, a poor white Southerner. Dixie is the historical nickname for the states making up the Confederate States of America. The song's opening stanza refers to one of George Stoneman's raids behind Confederate lines attacking the railroads of Danville, Virginia at the end of the Civil War in 1865:

Virgil Caine is the name, and I served on the Danville train
Till Stoneman's cavalry came and tore up the tracks again
In the winter of '65, we were hungry, just barely alive
By May the tenth, Richmond had fell, it's a time I remember, oh so well​
Wiki said:
Joan Baez recorded a version of the song that became a top-five chart hit in late 1971.


Next is "When You Awake".
Wiki said:
"When You Awake" is a ballad. The lyrics concern a young boy who received advice from "Ollie," who may be a friend or relative. Ollie tells the boy how difficult life can be; that the boy is a fool, that "it's a mean old world," to "Be careful where you step and watch what you eat." The boy turns to his grandfather for comfort. His grandfather's words comfort the boy by assuring him of his love, but do not contradict the harsh words from Ollie. [Robbie] Robertson has stated that the song "is the story about someone who passes something on to you, and you pass it on to someone else. But it's something you take to heart and carry with you your whole life."
The Wiki page for the song also mentions "speculation that 'Ollie' was meant to represent [Rick] Danko's mother Leyola, or Ole for short."

The album's first single, "Up on Cripple Creek" (charted Nov. 1, 1969; #25 US), is an enjoyable ditty about a hard-working and evidently hard-drinking man who spends time with a woman named Bessie for comfort and support:
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The distinctive riff heard at the end of each chorus is a clavinet being played with a wah-wah pedal.

The first side closes with "Whispering Pines,"
Wiki said:
a ballad on the theme of loneliness. Manuel wrote the melody and vocal line but could not come up with the lyrics, so Robertson wrote the lyrics. According to Robertson, "Richard always had this very plaintive attitude in his voice, and sometimes just in his sensitivity as a person. I tried to follow that, to go with it and find it musically. We both felt very good about this song." The lyrics are filled with images of loneliness such as a lonely foghorn, crashing waves and the titular whispering pines.


Side two opens with the playful and upbeat but not exactly subtle rocker "Jemima Surrender".
Wiki said:
The song's lyrics express the singer's sexual desire for the Jemima of the title....Sexual double entendres in the song include the singer's offer that "I’ll bring over my Fender, and I’ll play all night for you," which Robertson punctuates with a lead guitar riff. Another line states that "I hand you my rod and you hand me that line."
To say nothing of "I'd lock the door, tear my shirt and let my river flow".

"Rockin' Chair" is a more laid-back, country-flavored tune, narrated by an aging sailor who longs to give up the dangers of the sea and get back home.

"Look Out Cleveland" is a boogie-woogie-style number that warns of impending storms, quite possibly metaphorical in nature.

"Jawbone" is a musically interesting number that seems to be a dialogue between a career thief and somebody who's trying to discourage his lifestyle.

"The Unfaithful Servant," which will be the B-side of "Rag Mama Rag," expresses sympathy for a servant who's been dismissed from their position for an unidentified offense.

The album closes with "King Harvest (Has Surely Come)," an upbeat number narrated by a farmer who now belongs to a union because of the misfortune that's befallen him.
Wiki said:
The events depicted in the song are most likely a reference to the organizing drives of the Trade Union Unity League, which created share-cropper unions from 1928 to 1935, throughout the U.S. South.
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Wiki said:
In 2009, the album was preserved into the National Recording Registry because the album was "culturally, historically, or aesthetically important, and/or informs or reflects life in the United States." The album was also included in the book 1001 Albums You Must Hear Before You Die.

This one is a perfectly good listen, but other than a couple of the songs already being familiar to me, nothing about it really grabs me. I definitely consider the assertion quoted further above that it's a concept album to be a stretch. An album can have songs that explore related themes without having that something extra that makes it a bona fide concept album in my book.


Next up: Led Zeppelin II

_______

I'm trying to picture this. Wouldn't everybody notice that the room suddenly got considerably smaller?
I found the spatial logistics a little hard to follow myself, but could have explained that better. The bar was in an alcove with a mirrored main back panel that had shelves and a couple of matching mirrored side panels, about three feet wide each. Barney erected a false side panel. Observe:
MI14.jpg
MI15.jpg
Still not sure why they wouldn't notice that the side panel wasn't set in as deep as it used to be, and therefore presumably didn't match the one on the other side.

Ingenious! All he has to do to kill his target is not know how to fly a plane.
:lol: Not a lot of profit in that, I imagine. I assume he did know how to fly...think they covered that.

The synopsis writers are definitely getting better.
Indeed!

I wonder if the other guards miss him when he's just being Newkirk.
:lol:

I think things started to go wrong when they decided to hassle the guy based on a traffic ticket.
They had a duty to follow up on those tickets. They just zeroed in on a name that was bad news for other reasons. If they hadn't checked up on the guy, some other officers might have gotten him without knowing that he was likely to flee. (They had Wells and Brinkman covering the alley in the back in case he got out that way, which is what he tried to do. Part of Reed's motivation for checking the back door was to signal them visually that all was clear.)

Somebody's got to do it, or the system doesn't work.
That was the gist of it. I liked Malloy's comment about him...that Gray wasn't very popular with the force, but if he ever needed help, he might give Gray a call.

If nothing else, Gilligan is pure of heart.
There was the devilish beat in the coda where he kept the pearls he'd found to himself by tricking the others into thinking there were lots more to be found, sending them rushing off to look.
 
If I had to glean my own interpretation of the lyrics, I'd say that she's a little pissed that he's been wandering around experiencing America without her.
Yeah, although I'm not sure if she's threatening him or herself.

Generally considered a highlight of the album, "The Night They Drove Old Dixie Down" was the B-side of "Up on Cripple Creek," and ranks #245 on Rolling Stone's 500 Greatest Songs of All Time:
This song is a fond childhood memory.

The album's first single, "Up on Cripple Creek" (charted Nov. 1, 1969; #25 US), is an enjoyable ditty about a hard-working and evidently hard-drinking man who spends time with a woman named Bessie for comfort and support:
I love this song. Great sound and cute lyrics.

This one is a perfectly good listen, but other than a couple of the songs already being familiar to me, nothing about it really grabs me.
I like The Band, but their status does seem a little inexplicable.

I found the spatial logistics a little hard to follow myself, but could have explained that better. The bar was in an alcove with a mirrored main back panel that had shelves and a couple of matching mirrored side panels, about three feet wide each. Barney erected a false side panel. Observe:
Thanks for the pictures. I have a better idea of it now, but it's definitely a stretch. I think he put a little bit too much faith in the idea of people being oblivious to their surroundings. :rommie:

They had a duty to follow up on those tickets. They just zeroed in on a name that was bad news for other reasons. If they hadn't checked up on the guy, some other officers might have gotten him without knowing that he was likely to flee. (They had Wells and Brinkman covering the alley in the back in case he got out that way, which is what he tried to do. Part of Reed's motivation for checking the back door was to signal them visually that all was clear.)
True enough, I suppose.

There was the devilish beat in the coda where he kept the pearls he'd found to himself by tricking the others into thinking there were lots more to be found, sending them rushing off to look.
Maybe he really is Satan!

I can't imagine the middle aged Taylor caring one way or another. :lol:
Yeah, my impression was that he was snarkily commenting on how trivial that sort of thing was in the long run.
 
That was actually enjoyable. Certainly better than William Shatner and Greg Morris.

How dare you. ;)

I think the Professor is not the type to make the first move. :rommie:

Certainly not. In fact, he was always nervous when Ginger would turn up her flirtatious charm.



The Altamont Free Concert is held at the Altamont Speedway in northern California. Hosted by The Rolling Stones, it is an attempt at a "Woodstock West" and is best known for the uproar of violence that occurred. It is viewed by many as the "end of the sixties."

Yes, the Rolling Stones topped off a banner year of their own darkness by taking the advice of the Grateful Dead and Jefferson Airplane to use a White Supremacist biker gang as stage security instead of you know...real, licensed security who would be somewhat accountable. The Altamont Speedway owner did hire a large number of plainclothes security, but they were not there to protect the musical acts. Instead, among many incidents of violence, Marty Balin was knocked out while trying to break up an altercation, and black Meredith Hunter--contrary to the Hell's Angels, Rolling Stones road manager Sam Cutler and a few others--had been harassed all afternoon by the Hells Angels because he was with his white girlfriend Patty Bredehoft, hours before the evening's gun incident which led to his murder. In the end--according to witnesses, the Hell's Angels stomped Hunter after he was on the ground, with one allegedly saying "let him die".

The entire sick chapter was not the "end of the sixties" but it was a part of a long decade of incredible violence in the United States.


"Arizona," Mark Lindsay
(#10 US; #16 AC)

Already sounding like the next few years of general musical evolution to come, rather than anything from his Paul Revere and the Raiders days.
 
50th Anniversary Cinematic Special

Butch Cassidy and the Sundance Kid
Directed by George Roy Hill
Starring Paul Newman, Robert Redford, and Katharine Ross
Premiered September 23, 1969
1970 Academy Awards for Best Writing, Story and Screenplay Based on Material Not Previously Published or Produced (William Goldman); Best Cinematography (Conrad L. Hall); Best Music, Original Song (Burt Bacharach and Hal David, "Raindrops Keep Fallin' on My Head"); and Best Music, Original Score for a Motion Picture (not a Musical) (Burt Bacharach); Nominee for Best Picture, Best Director, and Best Sound
Wiki said:
Butch Cassidy and the Sundance Kid is a 1969 American Western film directed by George Roy Hill and written by William Goldman. Based loosely on fact, the film tells the story of Wild West outlaws Robert LeRoy Parker, known as Butch Cassidy (Paul Newman), and his partner Harry Longabaugh, the "Sundance Kid" (Robert Redford), who are on the run from a crack US posse after a string of train robberies. The pair and Sundance's lover, Etta Place (Katharine Ross), flee to Bolivia in search of a more successful criminal career.

This was just a generally fun, highly watchable film, with lots of great LOL lines (mostly delivered by Newman) that I shan't try quoting here because I was too engaged in the movie to stop and jot them down. A lot of them appear in the trailer that I'd previously posted, but are funnier in context.

The opening scenes are in sepia, complete with a matching 20th Century Fox logo. This includes a great scene in which Donnelly Rhodes backs down from a shootout with Sundance based on his reputation. There's also a sepia still-picture montage sequence later in the film of Butch, Sundance, and Etta's visit to New York to catch a liner to Bolivia.

Butch Cassidy vs. Ted Cassidy:
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(Note that Charles Dierkop is also in that scene.)

I'm glad Fandango had a clip with the song. You'd think from this scene that Etta was Butch's girl, but she's actually Sundance's.
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I also detected a bit of symbolism with the bicycle. It was being sold as "the future," and when Butch tosses it away before they depart for Bolivia via New York, he says, "The future's all yours, you lousy bicycles!" In a sense, he was throwing away his future...a potential future hinted at by the moment of bliss with Etta and the bicycle.

I read where the "super posse" sequence was criticized for going on too long, but I enjoyed it. It climaxes with the iconic cliff scene...which, seeing it out of context, I used to assume was how the characters died. It isn't, it happens in the middle of the film...but it does parallel and foreshadow their death scene.
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And speaking of...
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In 2003, the film was selected for the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." The American Film Institute ranked Butch Cassidy and the Sundance Kid as the 73rd-greatest American film on its "AFI's 100 Years...100 Movies (10th Anniversary Edition)" list. Butch Cassidy and the Sundance Kid were ranked 20th greatest heroes on "AFI's 100 Years...100 Heroes and Villains". Butch Cassidy and the Sundance Kid was selected by the American Film Institute as the 7th greatest Western of all time in the AFI's 10 Top 10 list in 2008.
With a final US gross of over $100 million, it was the top-grossing film released in 1969. Adjusted for inflation, Butch Cassidy and the Sundance Kid ranks as the 34th top-grossing film of all time and the top 10 for its decade, due in part to subsequent re-releases.

Overall, I'd definitely recommend this one. I'd have given it a rewatch, but wasn't able to squeeze it in before the rental was up.

_______

Yeah, although I'm not sure if she's threatening him or herself.
I hadn't considered that, but looking at the lyrics, I still think she's threatening him.

I like The Band, but their status does seem a little inexplicable.
I could see it a little more with the previous album, but by this point the "roots rock" thing is better established, and has acts like CCR taking it newer places.

Maybe he really is Satan!
The scene made me think of that!

The entire sick chapter was not the "end of the sixties"
I think it qualifies symbolically...especially given its contrast to Woodstock, which was the defining moment of the decade for the counterculture.
 
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I like The Band, but their status does seem a little inexplicable.

Totally explicable: They were linked inextricably with Dylan going electric and the legendary Big Pink/Basement Tapes period. They made great eclectic albums with a lot of influences that hadn't yet really become widely incorporated into rock and roll, which hit just right with many of their peers and critics. They were highly talented musicians with three wonderfully different vocalists. And they broke up in grand style with an all-star closeout concert that was filmed by Martin Scorsese.

I read where the "super posse" sequence was criticized for going on too long, but I enjoyed it.

Huh. Yeah I never felt like the film dragged there. I think that its length is crucial to it being effective, a contrast to a typical single-sequence Western chase that audiences would be accustomed to. It gives the feeling that this faceless posse is something new, unknowable and machine-like in its relentlessness.

I also detected a bit of symbolism with the bicycle. It was being sold as "the future," and when Butch tosses it away before they depart for Bolivia via New York, he says, "The future's all yours, you lousy bicycles!" In a sense, he was throwing away his future...a potential future hinted at by the moment of bliss with Etta and the bicycle.

Yeah very symbolic. That might be the future, but it's an impersonal, mechanistic future that they want no part in. They want to live as free individuals the way they always have, even if they have to get away from their own increasingly oppressive and corporatized country to do it. It's a movie with more of a '60s countercultural message than it is sometimes given credit for.

Another classic Western of '69, The Wild Bunch, has similar themes of the end of the Old West, the loss of freedom to a more regulated civilization, and the drive to get away from it all.

Favorite line: Sundance's deadpan "Don't you get sick of being right all the time?"

Overall, I'd definitely recommend this one. I'd have given it a rewatch, but wasn't able to squeeze it in before the rental was up.

Am I getting that this is the first time you have seen this movie? Can that be? I had probably seen it half a dozen times by 1980.
 
Generally considered a highlight of the album, "The Night They Drove Old Dixie Down" was the B-side of "Up on Cripple Creek," and ranks #245 on Rolling Stone's 500 Greatest Songs of All Time:
The lyrics tell of the last days of the American Civil War, portraying the suffering of the protagonist, Virgil Caine, a poor white Southerner. Dixie is the historical nickname for the states making up the Confederate States of America. The song's opening stanza refers to one of George Stoneman's raids behind Confederate lines attacking the railroads of Danville, Virginia at the end of the Civil War in 1865:

Virgil Caine is the name, and I served on the Danville train
Till Stoneman's cavalry came and tore up the tracks again
In the winter of '65, we were hungry, just barely alive
By May the tenth, Richmond had fell, it's a time I remember, oh so well

No offense to you Mixer, but fuck all these songs that glorify the Confederacy and attempt to cast it in a noble light in any way. Thank god for Stoneman and his cavalry and screw Robbie Robertson and the sentiment that caused this POS of a song to ever have been written. Dixie needed to be driven down.

On another note, I otherwise like The Band and respect them as musicians. :)
 
Huh. Yeah I never felt like the film dragged there. I think that its length is crucial to it being effective, a contrast to a typical single-sequence Western chase that audiences would be accustomed to. It gives the feeling that this faceless posse is something new, unknowable and machine-like in its relentlessness.
Yeah, it was suspenseful, and it got across the idea of just what deep shit Butch and Sundance were in at that point, which is why they had to leave the country.

I should have mentioned that I found the part where they encountered Woodcock guarding the train the second time really funny.

Yeah very symbolic. That might be the future, but it's an impersonal, mechanistic future that they want no part in. They want to live as free individuals the way they always have, even if they have to get away from their own increasingly oppressive and corporatized country to do it. It's a movie with more of a '60s countercultural message than it is sometimes given credit for.
Insightful.

Am I getting that this is the first time you have seen this movie? Can that be?
Yep.
 
Butch Cassidy and the Sundance Kid
Here's one that I've seen, and it's great.

This was just a generally fun, highly watchable film, with lots of great LOL lines (mostly delivered by Newman) that I shan't try quoting here because I was too engaged in the movie to stop and jot them down. A lot of them appear in the trailer that I'd previously posted, but are funnier in context.
Indeed, it's a great script and the performances do it justice.

(Note that Charles Dierkop is also in that scene.)
I never realized that.

I'm glad Fandango had a clip with the song. You'd think from this scene that Etta was Butch's girl, but she's actually Sundance's.
I believe it's right after this that Sundance wakes up and says, "You can have her." :rommie: (Although it's been a long time since I've seen it.)

It climaxes with the iconic cliff scene...which, seeing it out of context, I used to assume was how the characters died. It isn't, it happens in the middle of the film...but it does parallel and foreshadow their death scene.
And that's my favorite line in the film: Butch laughs uproariously and says, "Are you crazy? The fall will probably kill you." :rommie:

Overall, I'd definitely recommend this one. I'd have given it a rewatch, but wasn't able to squeeze it in before the rental was up.
This is definitely a classic.

I hadn't considered that, but looking at the lyrics, I still think she's threatening him.
The thing that made me say that is that the last verse has a kind of "you've still got a lot to live for" quality to it.

The scene made me think of that!
:rommie:

Totally explicable: They were linked inextricably with Dylan going electric and the legendary Big Pink/Basement Tapes period. They made great eclectic albums with a lot of influences that hadn't yet really become widely incorporated into rock and roll, which hit just right with many of their peers and critics. They were highly talented musicians with three wonderfully different vocalists. And they broke up in grand style with an all-star closeout concert that was filmed by Martin Scorsese.
Okay, that makes sense. Most of that got by me.

Yeah very symbolic. That might be the future, but it's an impersonal, mechanistic future that they want no part in. They want to live as free individuals the way they always have, even if they have to get away from their own increasingly oppressive and corporatized country to do it. It's a movie with more of a '60s countercultural message than it is sometimes given credit for.
Yes, they are definitely presented as counterculture anti-heroes in the movie, which is obviously romanticized to a great degree.
 
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