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The Classic/Retro Pop Culture Thread

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50th Anniversary Viewing (Part 1)

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Hawaii Five-O
"Skinhead"
Originally aired January 25, 1972
Wiki said:
After a young woman is raped in a parking lot and a braggart soldier is arrested and tried for the crime, McGarrett begins to suspect the soldier may be the wrong man.

At a bar that plays cheesy stock music, the titular character, a big, creepy-looking dude (Lee Paul), tries to forcefully come on to a young lady (Miko Mayama). After she takes a call from the boyfriend she's meeting, an altercation ensues in which she fends the skinhead off with her purse; the guy the skinhead had been sitting next to (Murray MacLeod) tries to intervene and the skinhead pushes him down. Skinhead then follows the lady outside to her car and starts to tear at her clothes. The other guy goes to the door and watches with interest--but does nothing--as the skinhead chases after the girl, she tries to fight him off with her nails, and he decks her...then acts horrified at what he's done.

Steve goes to the hospital to talk to the girl, Nora Kiyama, who's the latest in a series of rape victims. Che turns up large footprints, chest hairs, blood, and shirt fibers left by the assailant. Five-O has potential suspects gathered at a local Army base; the skinhead we know identifies himself as Mitchell Kenner, and is reluctant to unbutton his shirt when ordered, because of the incriminating scratches on his chest. He smugly offers an alibi about falling on a hedge, but acts concerned when McGarrett looks at his service record. Kono finds shoes matching the prints in his locker. Nora is brought in to identify him in a lineup, she's traumatized at the sight of him, and he's booked.

Assistant D.A. Manicote (Glenn Cannon in his second appearance in a long-term recurring role) tells Steve how most of the evidence is circumstantial, and that the proprietor of the bar conflicts the eyewitness testimony of his bartender by claiming that he saw nothing happen, so they have to find a third witness, the other guy who was involved in the altercation. Steve goes to the bar to lean on the owner (Robert Luck), who changes his story to one better matching the bartender's. The owner recalls that the man involved in the altercation wore a gas station attendant's shirt with the name Chris on it. McGarrett goes to see the most likely suspect, an underaged blond dude we haven't seen (Dean Altier), who describes how a coworker named Luke borrowed one of his shirts.

Outside the chambers of Judge Kalehei (Yankee Chang), Steve has to pull Kono off Kenner when the latter is dismissive of the victim because she's not white. Danno brings Luke Leonard--the man who'd been sitting next to Mitchell at the bar--to the courthouse. Kenner sees Leonard and asks his appointed defense attorney, Arthur Tosaki (Kwan Hi Lim), to find out who he is, with the story that he could provide an alibi. Kenner then goes to see Leonard to threaten him into perjuring himself.

At the trial, Tosaki argues against the certainty of the rape, as Nora was unconscious when it happened, and presses her about her sexual activities prior to the incident in an attempt to suggest that she was promiscuous enough to have had willing sex with Kenner prior to the attack. As Leonard's testifying, Kono comes in with info for Steve about how Kenner was seen at Leonard's place. Manicote questions Leonard about this, and Leonard nervously testifies to how Kenner threatened to kill him. Leonard then tells his version of how things happened on the night of the assault.

Back at 5OHQ, McGarrett is bothered with how things have developed--how Leonard, whom he judges to be a weasel, stood up to testify, and isn't running scared from Kenner, who's out on bail and isn't pursuing the man who crossed him. Steve takes a closer look at Kenner's record and investigates an eighteen-month period when he was out of the service. The team finds that Kenner's been making payments to a Canadian urologist who performed multiple operations on him after he suffered pelvic damage from an auto accident...attempting to reverse Kenner's permanent impotence. Determining that rape by Kenner wasn't a possibility, the team takes a closer look at Leonard, and find evidence that he burned the borrowed shirt he was wearing that night. Confronted with the shirt's surviving buttons, Luke panics and tries to make a run for it...though it turns out that one of the buttons couldn't be found and was substituted with one borrowed from Chris.

Kenner agrees to a lesser charge of aggravated assault and admits to how he threatened Luke to testify that he did rape the girl, because he didn't want anyone to know about his impotence. Steve chastises Kenner for thinking of himself as a man, given what he did.

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Adam-12
"The Parole Violator"
Originally aired January 26, 1972
Wiki said:
Malloy doesn't believe that the best player on the rec-league basketball team he coaches is back on drugs, even in the face of evidence that suggests otherwise. Meanwhile on their beat, Malloy and Reed must find a hit-and-run driver who struck a child and pull over a traffic violator whose passenger is belligerent (and wanted).

Malloy's off duty in sweats doing his basketball coach thing when a player named Kyler Johnson (Hilly Hicks) talks to him privately to tip him off that a missing player, Larry Ciprio, has been using again. On a seven, Malloy and Reed have lunch with Larry's parole officer, Steve Hernandez (Trini López), who reports that Larry doesn't seem to be buying but has come up missing.

The officers get a call for ambulance traffic. At the scene, they find that a young boy's been hit by a car. The boy sees Reed and thinks that his father has come back. Reed rides in the ambulance with him, which is getting to be a regular thing. At the hospital, the boy's mother, Joan Coberly (Rachel Romen), tells Reed that Bobby's father was killed in Vietnam.

On patrol, the officers see a car that runs a stop sign and think it could be their hit-and-run driver. When pulled over, the owner, Dennis Baker (Peter Leeds), cooperates, but his young passenger, Bill Morry (Russell G. Wiggins), gets mouthy. Malloy checks Morry's license, then openly passes Reed a note that he's hot, and arrests him. In the squad car, it turns out that Morry's an undercover narcotics cop who's been investigating Baker as a suspected dealer.

Reed calls the hospital to find that Bobby's out of surgery but faces potential paralysis. Mac (who only appears by voice in this episode) radios in a tip from a man named Harry Sutter who works at the park about Larry Ciprio. Sutter points Malloy to the gym where Larry's (John Roper) practicing. Hernandez meets them there, and while Larry's very defensive and mysterious, he insists that he isn't using.

Mac gives the officers an update that Bobby's alright, then they meet Hernandez again. Tipped off by an anonymous letter, he found a small packet of heroin in Larry's mother's house, though it seemed conspicuously placed in the open. They all go back to the house and talk to Mrs. Cipreano (Carmen Zapata), who begs them to help her boy. Larry angrily confronts them, and he admits to having bought a couple of bags in a moment of weakness but decided against using them. It turns out that his mother tipped off Hernandez and left the heroin out where the officer could find it. Larry starts to try to run out, but Hernandez and Malloy convince him to face the music. Reed checks the smaller building out back where Larry's been staying, and find that Mrs. C's fears that Larry's little brother might try to emulate him were justified, as Frankie is lying unconscious after having shot up. Back at the station, Malloy learns via phone that Frankie is also going to make it.

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The Brady Bunch
"The Big Bet"
Originally aired January 28, 1972
Wiki said:
Greg comments to a pesky Bobby that he can do twice as many chin-ups as he can. Greg did not mean anything by it, but Bobby demands a contest, with the loser acting as the winner's servant for a week. Bobby wins and soon becomes a tyrant. He invites himself along on Greg's date with Rachel (Hope Sherwood). Bobby is annoying and disruptive through the date, and through his intentionally silly antics rips the soft top of Mike's convertible, leaving himself with a large debt to Mike for the repairs. In the subplot, Carol and Mike attend a high-school reunion with a bet of their own.

Bobby's getting to be a nuisance, isn't he? He comes home excited to tell everyone how many chin-ups he did in school, but only Greg is there. When Greg, who was talking to Rachel on the phone, is dismissive, Bobby insists on a bet that Greg can't do twice as many chin-ups as he can. Bobby trains up for the day of the competition, while Greg doesn't take it seriously. Meanwhile, Mike gets an invitation to his high school reunion, which is that Saturday...that seems kind of short notice. Mike reluctantly reveals to Carol that his school nickname was--wait for it--"Hot Lips". Mike and Carol make a parallel bet about whether Carol can correctly identify Mike's old girlfriend in the yearbook. Back in the main plot, Bobby gives Greg a chance to get out of the bet, but Greg refuses. Bobby ends up doing eleven chin-ups, doubling his own five from the week before. Greg starts out strong and confident, but only manages nineteen.

Greg ends up having to do menial chores for Bobby, as well as for the other kids on Bobby's behalf; and to pretty much let Bobby have whatever he wants. Bobby insists on accompanying Greg on his date with Rachel to the drive-in, and the parents rule that this is a fair demand...Mike slipping in a little lesson about the risks of gambling. On the date, Bobby makes a show of ordering Greg around and gets in the way of Greg and Rachel doing what they'd like to be doing. Bobby insists on Greg putting the top down, to the annoyance of other viewers, then takes out an umbrella, so Greg puts the top up again...and Bobby's umbrella pierces it. Bobby finds himself having to earn $150 to pay for the top, which means he now has to do Greg's chores for money.

Carol also wins her bet, though only with the help of the girlfriend having visited the house offscreen and introduced herself.

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The Partridge Family
"I Am Curious...Partridge"
Originally aired January 28, 1972
Wiki said:
Keith and Shirley get some unsavory publicity when Danny writes a story about them for the local paper.

Missing teaser alert, and it shows...as usual, we're obviously being plopped into a situation in progress. In this case, most of the family has already seen the story, which is in a Sunday magazine supplement, and loaded with juicy items that Danny made up in the interest of publicity. Laurie serves Keith breakfast in bed so she can bring the magazine to him. Mortified by the fake personal details, Keith tries to go to school in disguise, but all the girls are tossing him black garters; the guys in the gym shower are looking for a tattoo he doesn't have; and Mrs. Damion (Maxine Stuart), the English teacher he allegedly has a crush on, recites love poetry directly to him in front of the class.

The second part of the story the following weekend focuses its embarrassment on Shirley, and she has a PTA fashion show to attend that day. The milkman (Bobby Baum) delivers in a trench coat, which the story claims is a turn-on; and she's made to do a faux striptease at the fashion show, because part of the story claimed that she used to run an exotic dancing school. The family is scheduled to play at a convention to an all-male audience the following night, at which they perform "If You Ever Go" while Shirley looks sheepish on the keyboard.
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As a gag after the performance, the kids all wear false beards for an encore bow, because beards are also supposed to be one of her turn-ons.

In the coda, the other kids have gotten back at Danny by having an embarrassing Sunday magazine story printed about him.

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The Odd Couple
"Where's Grandpa?"
Originally aired January 28, 1972
Wiki said:
Felix's annoying grandfather (Tony Randall in a dual role) comes to stay with Oscar while Felix is out of town.

The episode opens with Oscar enjoying poker night with Murray, Vinnie, Speed, and not Felix, who's in Acapulco for a week. After a warning call from the senior facility, Grandpa Unger shows up at the door bearing multiple bags, having gotten into a fight with Grandma. He ruins the game by repeatedly reading Oscar's hands aloud, then starts acting depressed like Felix is said to have been when he moved in. Grandpa thinks his Mimi was fooling around with other guys in their senior community. Down in the laundry room, Grandpa meets Loretta Spoon (Ann Doran) and asks her out for a date. Oscar's pleased because it means he can play poker, but Loretta comes over to try to explain that her acceptance of the date was a misunderstanding, and Oscar has to break the news to Grandpa. During a game of gin with Oscar, Murray gets a call about a jumper outside the apartment, who turns out to be Grandpa, who wants to come in but is too petrified to move, so Oscar goes out to bring him in. After the incident, Mimi's coming to get Grandpa, but he's afraid he's going to blow it again with his jealousy, so Oscar tries to rehearse their reunion. Mimi (Madge Kennedy) arrives, Grandpa asks for her forgiveness, and they reconcile.

Felix is back in the coda, reading Oscar's gin cards aloud.

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Interesting. I don't think it's that clear cut. A lot of bands and singers perform work written by others, which basically makes them hired performers. And there have been other producers who created studio bands. The Monkees took it to another level, of course, but with pretty good results.
The issue is that they weren't really a functioning band, but were pretending to be one. This really showed in the concert episode, when they each got their little spotlights displaying their musical talents, but were never seen onstage together actually performing as a unit.
 
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The issue is that they weren't really a functioning band, but were pretending to be one. This really showed in the concert episode, when they each got their little spotlights displaying their musical talents, but were never seen onstage together actually performing as a unit.

The thing is, once they actually became a functioning unit with a touring band to back them up, the show was off the air, the hits had dried up and they were barely filling venues.

I'd say the same thing happened to The Byrds. Once Roger McGuinn was the only original member left, he put together a band consisting of Clarence White, Gene Parsons and Skip Battin that I would say, what they lacked in songwriting skills, rivaled the core five in terms of musicianship. Unfortunately, even though they were still selling out concerts, their hits had dried up.
 
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Confronted with the shirt's surviving buttons, Luke panics and tries to make a run for it...though it turns out that one of the buttons couldn't be found and was substituted with one borrowed from Chris.
Okay, so Leonard stood up for Nora and then followed her and Kenner, and then took advantage of the situation when he apparently knocked her out and fled. Does this mean to imply that he was the serial rapist, or was that just a plot device to get Steve involved?

Kenner agrees to a lesser charge of aggravated assault and admits to how he threatened Luke to testify that he did rape the girl, because he didn't want anyone to know about his impotence.
Boy, talk about insecure. But it kind of makes me wonder why he's trying to pick up women if he's that sensitive about his condition.

At the scene, they find that a young boy's been hit by a car. The boy sees Reed and thinks that his father has come back. Reed rides in the ambulance with him, which is getting to be a regular thing. At the hospital, the boy's mother, Joan Coberly (Rachel Romen), tells Reed that Bobby's father was killed in Vietnam.
Ouch.

In the squad car, it turns out that Morry's an undercover narcotics cop who's been investigating Baker as a suspected dealer.
So he got himself arrested for some street cred?

Mac gives the officers an update that Bobby's alright
It's kind of strange that we never saw Bobby again. They could have gotten some good mileage out of him seeing his father in Reed.

Bobby's getting to be a nuisance, isn't he?
I think the Bunch is designed to discourage people from having children. The producers were probably concerned about the population explosion.

Meanwhile, Mike gets an invitation to his high school reunion, which is that Saturday...that seems kind of short notice.
"Oh, crap, we forgot to invite whatsisname, Brody or something."

Mike reluctantly reveals to Carol that his school nickname was--wait for it--"Hot Lips".
Reluctantly, sure. :rommie:

Mike and Carol make a parallel bet about whether Carol can correctly identify Mike's old girlfriend in the yearbook.
They should have used Florence Henderson's yearbook photo.

Bobby insists on accompanying Greg on his date with Rachel to the drive-in
Call in sick, Greg.

the parents rule that this is a fair demand...Mike slipping in a little lesson about the risks of gambling.
A little parental hypocrisy there.

Bobby finds himself having to earn $150 to pay for the top, which means he now has to do Greg's chores for money.
And the moral of the story is: Everybody's a jerk and gets their comeuppance.

"I Am Curious...Partridge"
Yet another mainstream reference to a porn film, somewhat belated this time.

In this case, most of the family has already seen the story, which is in a Sunday magazine supplement, and loaded with juicy items that Danny made up in the interest of publicity.
Speaking of nuisances. :rommie:

Laurie serves Keith breakfast in bed so she can bring the magazine to him.
No juicy tidbits about Laurie? I guess we know who Danny fears. :rommie:

Keith tries to go to school in disguise, but all the girls are tossing him black garters
Well, that's just awful.

she's made to do a faux striptease at the fashion show, because part of the story claimed that she used to run an exotic dancing school.
Well, she did play a stripper or showgirl or something that one time.

In the coda, the other kids have gotten back at Danny by having an embarrassing Sunday magazine story printed about him.
Two wrongs don't make a right, Partridges!

Grandpa Unger shows up at the door bearing multiple bags
Weirdly, I don't remember this at all. I'm sure I must have seen all of them, though.

Murray gets a call about a jumper outside the apartment, who turns out to be Grandpa
Lots of jumpers on this show. They should nail the windows shut.

Felix is back in the coda, reading Oscar's gin cards aloud.
Tony Randall must have had some fun with that one. But, given that he's about fifty, his parents and grandparents must have gotten married very young. :rommie:

The issue is that they weren't really a functioning band, but were pretending to be one. This really showed in the concert episode, when they each got their little spotlights displaying their musical talents, but were never seen onstage together actually performing as a unit.
Yeah, that's true, they didn't play their own instruments at first.
 
@RJDiogenes
That's the story that's been told for years.

In fact Michael Nesmith was an accomplished guitarist who had been in several folk groups prior to auditioning for The Monkees and some of his songs had been recorded by other groups.

Peter Tork was also in folk bands and a multi-instrumentalist before auditioning.

Mikey Dolenz knew how to play guitar, but switched to the drums for the series.

Davy Jones was the only one who didn't play an instrument.

The fact is that is they weren't allowed to play on their first two albums or select the songs that would appear on them.

It was only after they got control over their recording contract did they write, play and produce their own music from 'Headquarters' on.
 
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50th Anniversary Viewing (Part 2)

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Love, American Style
"Love and the Anxious Mama / Love and the Boomerang / Love and the Private Eye"
Originally aired January 28, 1972

"Love and the Anxious Mama" opens with Nina (Deborah Walley) asking her titular parent (Renata Vanni) not to embarrass her when her boyfriend Julio comes for dinner by pressing on the issue of marriage. Papa (Benny Rubin) brings home a young man named Henry (Dick Curtis) to tune the piano, and gets the idea of having him stay for dinner to serve as an example of a happily engaged man. At dinner with Julio (Lennie Weinrib; note that the character's name is pronounced with a hard "J" throughout the segment) present, Henry undermines things by advocating for waiting until the couple is sure and ready. Mama gets more and more upset as this goes on, so Papa takes Henry aside and fills him in on what they'd like him to do...but Henry just gets envious when he finds out how good Julio has it as a single man who owns a home and business. Papa comes up with a new plan, wanting Henry to make moves on Nina to make Julio jealous. This works, with Julio decking Henry and declaring his intention to marry Nina...which causes Mama to do a 180 and start crying about how her daughter is still just a baby.

"Love and the Boomerang" has a swinger named Jerry (Dick Patterson) staying with his friend Dave (Arte Johnson) while his pad is being painted. Dave is impressed with Jerry's black book and shares how he doesn't want to marry Patsy, whom he's been seeing for years. Jerry offers to help steer Patsy into broadening her horizons so she's not so stuck on the idea of marriage, so when she comes over (Anita Gillette), he asks her to dinner, which she ends up agreeing to when Dave upsets her. When she returns, Dave's jealousy act just makes her more marriage hungry, so he feigns indifference and encourages her to keep seeing Jerry. Patsy ends up having a lot of fun with Jerry, while Dave gets genuinely upset at the situation backfiring on him. Jerry and Patsy end up running off to Vegas to get married; and Dave takes a call from one of the ladies in Jerry's book and invites her over.

The opening credits of "Love and the Private Eye," an animated Hanna-Barbera pilot, bill three of the characters rather than their actors. The stars are Max Smart-like bumbling titular character Melvin Danger (Richard Dawson doing Bogey), the master of a thousand disguises; his chauffeur/right-hand man Williams (Leonard Weinrib); and lovelorn secretary Tangerine Glick (Mitzi McCall). There's also a theme song that plays over parts of the segment. Danger accidentally botches what's supposed to be a secret payroll delivery so that his client, Mr. Hammond (Robert Holt), gets killed for the money. Danger and Williams tail a suspect named Riker (John Stephenson) who gets killed when meeting with an interested party who appears to be a woman. Danger's suspicion turns to Mrs. Hammond and her husband's partner Best, with whom she's seen. When Danger goes to inform Hammond's secretary, Miss Mason (Cynthia Adler), that he knows who killed Hammond, she's ready to off him, he finds her gun, she seduces him to get it back, and he stumbles upon her case full of money, but remains oblivious that she's the murderer. Williams and Tangerine arrive and are quicker to realize the truth, but credit Danger with having solved the case. The closing credits give the names of the voice actors, but don't list their characters. IMDbs character listings weren't complete, and some of them disagreed with a Hanna-Barbera Wiki page, which was more thorough.

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All in the Family
"Archie Sees a Mugging"
Originally aired January 29, 1972
Wiki said:
Archie witnesses a mugging and gets himself in trouble with the victim, the police and the mob.

After a brief moment of unseen comradeship over baseball, Archie comes home from the cigar store arguing with Mike over how Archie allegedly saw local shoemaker Tony Vicino being mugged for his cashbox on the street while separated from Mike. Archie insists that he saw nothing, and Gloria tries to give him the benefit of the doubt until Mrs. Vicino calls asking when he'll be going to the police station about it. Archie then claims that the men who mugged Vicino appeared to be mobsters.

Archie: Them Sicilians is famous for two things--spaghetti and revenge!​

A policeman then comes to door (soon-to-be Mr. Maude Bill Macy), and Edith quickly blows Archie's story.

Mr. Vicino (Jack Somack) comes to the house the next day, initially singing Archie's praises for getting involved...but gets upset when he finds out about Archie's mobster story. Things get deeper when Gloria finds that Archie's story has been written up in the paper...which Mike argues would now get him in trouble with the Mafia, as Archie was claiming to want to avoid. When Edith takes a call that a Ralph Silvestri from the Pro-Italia Society is going to be coming over, the shoe goes on the other foot as Archie begs Vicino to tell him how it really happened. But first a Detective Sgt. Perkins (Frank Campanella) comes over to question Archie's story, Archie assumes that he's Silvestri, and Vicino leaves. Then the real Silvestri (Val Bisoglio) arrives, and the detective leaves, pressing Archie to come back down to give a complete statement. Silvestri does imply that he's acting on behalf of the mob, but just leans on Archie a bit to make sure he gets his story straight with the police...which we learn in the coda that he does.

Interestingly, The film version of The Godfather is directly referenced, though it won't premiere until March.

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The Mary Tyler Moore Show
"More Than Neighbors"
Originally aired January 29, 1972
Wiki said:
There is a vacant apartment in Mary's building, and Ted wants to move into it.

Downstairs neighbor Barbara Gardner (Yvonne Wilder) comes up to see Mary, who's never met her even though Barbara's lived there a year. (How many apartments does this house have?) She tells Mary how she's a bar piano player who met a guy she's marrying at her job and will be leaving her apartment. Here Mary and Rhoda find out that the anonymous company that manages the building is run by Lars and Phyllis--I was under the impression from the first episode that Phyllis was the owner, and Mary's landlady. At the station, Mary's posting a notice about the apartment when Lou yanks her into his office to stop her from saying anything about it in front of Ted, who's looking for a place...but Ted sees the notice.

Phyllis shows Ted the place (like she did with Mary); he likes it, and starts talking to Mary about carpooling. Mary actually starts looking for another place. Phyllis brings the lease to the station and Ted has his "attorney," a law school student named Michael Lee (Jack Bender), look it over. While Lou is angered at finding Ted and company using his office, Mary is upset at what's about to happen, describing how Ted now wants to use her as an answering service. Even a no-pets clause doesn't deter Ted, as he's willing to sell his dog. Lou seizes on Ted's reluctance to pay a cleaning fee as an opportunity to convince him that there will be too many hidden expenses involved, and over Phyllis's objections, Ted decides not to sign.

In the coda, Mary and Rhoda learn that the apartment has been rented by five young airline stewardesses.

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Emergency!
"Botulism"
Originally aired January 29, 1972
Wiki said:
Paramedic Johnny Gage, the subject of practical jokes at Station 51, contemplates the best method for his revenge. After a man working on a smokestack breaks his back, Gage and DeSoto rappel down to his aid. Despite his agony they are unable to give him painkilling drugs. After Desoto explains how his pain is their guide to avoid further damage he is rescued. A wife fakes a heart attack -- yet again -- to avoid an argument with her bickering husband. The Brackett/McCall workplace romance hits some bumps. Dr. Early's stethoscope gets stuck. When a movie studio cameraman takes a fall, Drs. Early and Brackett have to work back to find the real reason he fell. The search leads all the way back to a potluck dish of Beef Stroganoff at the Yacht Club. Dr. Brackett has to make a risky call before he has all the facts. A young boy playing in an abandoned building is trapped when the building collapses.

The humorous Gage thread seems to have been mostly sacrificed to syndication editing, as we get only one beat of it, which is clearly a middle beat for a situation that's already been established. There was also at least one place where Cozi cut back from commercial on the squad and engine racing to a call in a manner that seemed very abrupt...I imagine some station business was lost there.

The episode opens with Squad and Engine 51 arriving at the scene of a man hanging motionless from a smokestack by a rope attached to him. The paramedics climb up the ladder to the catwalk above him, and a couple of the firemen to the one below, from which they pull up the heavier equipment (including the biophone). DeSoto rappels down to the man, unjams the winch, and lowers him to the catwalk below. (Stunt work! And obvious studio work for the close-ups.) The man (William Stevens, I think from a vague billing) is conscious and begging for a painkiller, but DeSoto explains that as spinal injury may be involved, they need him to indicate if they might be moving him wrong. The Stokes stretcher (as I now know the basket stretcher is called) is pulled up and the man is lowered down on it.

At Rampart the paramedics have a brief talk with Nurse Jacobs (Virginia Gregg reprising her role from the pilot) about how they wish they could have done more for the man, then get a call about a possible heart case. (Why don't Malloy and Reed carry walkie talkies?) The paramedics recognize the address of Myron and Martha Gilmore (Paul Langton and Virginia Vincent) from a couple of false alarms that month. Myron seems to think it's real this time, but Johnny's sure she's faking again, and the paramedics use smelling salts to bring her out of her act. DeSoto gives her a little Fridayesque lecture about how she's tying them up from responding to other calls, in an even gentler manner than Malloy tends to use.

Back at Rampart, Johnny's discussing potential methods of revenge on whoever's been pranking him in an uspecified manner when the paramedics walk into the coffee room to find Brackett and Dixie in a spat over the doctor having chewed out a student nurse.

The squad and engine next go to a filming studio where a cameraman named Jim Parker (Calvin Bartlett) has fallen from a rig from dizziness, breaking his leg. At Rampart, Brackett questions him about the symptoms he's been experiencing that day and Parker goes into respiratory arrest, so Brackett operates to insert a tube into his trachea. Generalized paralysis follows, with Parker able to move a finger when asked, but otherwise unresponsive. From the symptoms, Brackett's best diagnosis is botulism, though Early urges caution in making that call as it could cause a city-wide panic. Despite the lack of lab evidence, the Health Department is willing to go into action based on Brackett's reputation. (The saw him on Wagon Train!) Brackett explains to Mrs. Parker (Anne Whitfield) how they'll need to determine everything that Jim ate in the previous 36 hours. Then Brackett gets a call from DeSoto and Gage, already on a call involving a woman who seems to be in a state of shock. Other symptoms match Parker's, so Brackett makes a call and confirms that the woman is somebody the Parkers know, who had dinner with them at a yacht club. Brackett has DeSoto question the woman about what she ate there, then compares notes with Mrs. Parker to determine that the likely culprit was a potluck dish of beef stroganoff brought by a Nancy Dickson.

At Rampart the paramedics get a call about a trapped child. At the scene, a boy (I assume Jimmy, a.k.a. Harlen Carraher) describes how he and his friend Tommy were playing in an abandoned building when the room collapsed and Tommy couldn't be found. DeSoto uses a Kennedy probe to determine from listening that the boy is trapped behind a collapsed wall. Firefighters get to work on the nearest outside wall with power tools, and the paramedics crawl into the hole.

DeSoto: Tommy? Can you hear me?​

Tommy (Joshua Albee) responds, and the paramedics start to work at freeing him from the debris he's trapped under, but can't move a timber that's holding up the wall. They have a porta-power jack brought in to brace the wall so they can remove the timber and free the boy, who declares on his stretcher that he wants to be a fireman when he grows up.

Back at Rampart, Nancy Dickson (Susan Seaforth) has arrived, distraught that her canned mushrooms may have been responsible. Her stroganoff tests positive for botulism, which means that all victims have been accounted for.

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Mission: Impossible
"Bag Woman"
Originally aired January 29, 1972
Wiki said:
After Barney's cover is blown during an operation to discover the identity of a politician demanding bribes from the Syndicate, the rest of the team races to warn bag woman Casey that the satchel she's carrying is actually a bomb.

OK, seeing the title I was afraid that they were following up Casey as a mental patient with Casey as a homeless person...

The episode opens with Luke Jenkins (Georg Stanford Brown) leaving his German shepherd Jud in the car to make contact in a bar with a bag carrier (John Wheeler). Jud sniffs out a spy named Malloy (an uncredited Todd Martin) who reports in via phone, takes him into an alley and shoots him. (If a man is shot off camera and there are no IMFers there to hear it, does it make a sound?)

The reel-to-reel tape in a service station office said:
Good morning, Mr. Phelps. For years, the Syndicate has been operating openly in a western state through enormous bribes to a highly placed political figure known to us only by his underworld code name, C6. Conventional law enforcement agencies lost their only lead to his identity when special agent Jack Malloy was killed while on surveillance duty. We do know for certain that all organization payoffs for the area are handled by Syndicate veteran Harry Fife [now-mustached former Time Tunneler Robert Colbert] and his chief button man, Luke Jenkins. Your mission, should you choose to accept it, is to learn the identity of C6 and get the evidence that will put him behind bars. This tape will self-destruct in five seconds. Good luck, Jim!

A replacement bag woman is nabbed by the IMF and further replaced by Casey, who uses her auto sans a disguise because Fife hasn't met her. But in his office, Fife shares with Jenkins his plan to deliver a bag of TNT charges to C6 instead of money, as C6 has gotten too greedy. Luke and Fife's henchman Pete Walker (Glenn R. Wilder) head for an IMF-arranged appointment with IMF veterinarian Bob Miller (Mark VII regular Lew Brown). In the exam room, Jim does a Famous Paris Neck Pinch on Jenkins so he can be replaced by Barney in a Casey-crafted disguise. (Having a black actor in the bad guy cast has become a form of Chekhov's gun for this show--you know Barney's gonna end up disguised as him.) Barney and Pete return to Fife's in time to catch Fife giving his delivery instructions to Casey and handcuffing the bag to her wrist (cuz he's into that sort of thing).

Willy tails Casey with the aid of a tracking device and reports to Jim via car phone. Barney almost blows things because he doesn't know about a bottle of sour mash that Luke brought Fife as a present that morning; and learns about Fife's plan for the bag woman. At the vet's office, Jud escapes from his unlocked cage, goes out a window, returns to Fife's place, and attacks Barney, knocking him out and revealing his disguise--Jim needs recruit this guy and add him to the portfolio! Fife unmasks and questions Barney, who dives out a window but is grazed in the head by a shot from Pete. Barney manages to get away, but is disoriented and has trouble walking. He makes his way into the nearby office of Dr. Walter Manning (Russ Conway) and pleads for the doc to call the Jimphone.

Fife figures out that Casey was a "cop" meant to identify C6. At a specified parking lot, a guy named Al (Joe E. Tata) makes contact with Casey, making her accompany him to her meeting with C6 in his car. A van accidentally hits Willy's car, knocking the tracking monitor out of commission. Willy tries the Jimphone, but Jim's gone to the doctor's office to learn that Barney's been sent to the hospital. Jim and doc proceed there, where Barney's sedated, though he tries to tell Jim something about the bag. After they leave, Barney manages to stumble out of his bed and catch Jim before he gets in the elevator, and tells Jim about the bomb. Jim calls the Willyphone and finds out about the accident. Jim heads to where Luke is being held unconscious, leaves him a means of cutting his ropes, gives him a reviving shot, and exits the room. Luke busts loose thinking it was his idea, following which Jim makes a call to Fife posing as a Syndicate bigwig from back east.

Jenkins returns to Fife in time for Chicago Mobster Jim's arrival. He's there to fake-warn Fife that Casey's a cop, and emphasizes that the Syndicate is willing to pay C6 however much he wants. Fife sends Luke to call C6 (John Lasell, whose character is billed as Winston Walding, though I didn't catch it being dropped in the episode) and tell him that Casey's a cop. Jim tails Jenkins the old-fashioned way and spies with binoculars as he dials C6's number on a pay phone. Jim has the number checked and calls Willy with the address. C6 tries to question Casey, and is about have Al rub her out when Willy busts in and shoots Al. Cut to the IMFers, including a bandaged and recovering Barney, reuniting over a newspaper story about C6's exposure as a Syndicate-controlled politician.

_______

Okay, so Leonard stood up for Nora and then followed her and Kenner, and then took advantage of the situation when he apparently knocked her out and fled. Does this mean to imply that he was the serial rapist, or was that just a plot device to get Steve involved?
I don't recall if they established the Leonard was the serial rapist, but it was at least implied. At the end, after they cornered him with the buttons, he broke down crying about how he was sick.

Boy, talk about insecure. But it kind of makes me wonder why he's trying to pick up women if he's that sensitive about his condition.
Overcompensation? Trying to make a show of being "manly"? Given his reaction after he beat her unconscious, I don't think his actions were meant to be very rational; and he was drinking.

So he got himself arrested for some street cred?
Didn't quite catch it, but I think he was looking for an opportunity to pull out of the situation because it wasn't panning out.

It's kind of strange that we never saw Bobby again. They could have gotten some good mileage out of him seeing his father in Reed.
Not unusual as Adam-12 story beats go, though.

A little parental hypocrisy there.
They weren't taking the stakes of their bet very seriously.

No juicy tidbits about Laurie? I guess we know who Danny fears. :rommie:
He was focused on the "featuring" and "starring" characters.

Well, she did play a stripper or showgirl or something that one time.
The actress or the character?

Two wrongs don't make a right, Partridges!
They were teaching Danny a lesson in how it feels.

Weirdly, I don't remember this at all. I'm sure I must have seen all of them, though.
Randall in his age makeup was doing crying that sounded kinda like Felix's allergy/sinus issues. Does that ring a bell?

Tony Randall must have had some fun with that one. But, given that he's about fifty, his parents and grandparents must have gotten married very young. :rommie:
True. And they'd just more or less established that the characters were in the same age neighborhood as the actors with the flashback episode.
 
The fact is that is they weren't allowed to play on their first two albums or select the songs that would appear on them.
Oh, yeah, I knew they played. That's what I meant when I said "at first." Though, actually, I'm not sure if I knew that Davy Jones didn't play an instrument.

This works, with Julio decking Henry and declaring his intention to marry Nina...which causes Mama to do a 180 and start crying about how her daughter is still just a baby.
I'm disturbed by the increasing incidents of violence on Love, American Style. :rommie:

Dave (Arte Johnson)
Very interesting.

Jerry and Patsy end up running off to Vegas to get married; and Dave takes a call from one of the ladies in Jerry's book and invites her over.
Classic LAS plot resolution.

"Love and the Private Eye," an animated Hanna-Barbera pilot
Ah, I kind of remember that. I don't remember anything about it, but I remember that it happened.

Interestingly, The film version of The Godfather is directly referenced, though it won't premiere until March.
Product placement!

(How many apartments does this house have?)
Mary's apartment is pretty small, so I suppose it could have two per floor, plus Rhoda's attic. I wonder if a downstairs neighbor was ever referenced again aside from this episode.

I was under the impression from the first episode that Phyllis was the owner, and Mary's landlady.
Yeah, I thought that was built in from day one.

Mary actually starts looking for another place.
:rommie:

Even a no-pets clause doesn't deter Ted, as he's willing to sell his dog.
Hmm. I don't see Ted with a dog.

In the coda, Mary and Rhoda learn that the apartment has been rented by five young airline stewardesses.
Let's hope they follow up on that plot thread.

(Stunt work! And obvious studio work for the close-ups.)
They did do a lot of cool location stunt work on this show. Now that I think of it, it must have been expensive.

the paramedics have a brief talk with Nurse Jacobs (Virginia Gregg reprising her role from the pilot) about how they wish they could have done more for the man
So they decide to take a night course in neurosurgery, re-igniting Brackett's anger.

(Why don't Malloy and Reed carry walkie talkies?)
That would be the end of their code sevens altogether. :rommie:

Back at Rampart, Johnny's discussing potential methods of revenge on whoever's been pranking him in an uspecified manner
That must have made him look paranoid and delusional with all the other parts cut out. :rommie:

the Health Department is willing to go into action based on Brackett's reputation. (The saw him on Wagon Train!)
Where he saw a lot of botulism on the trail.

Brackett has DeSoto question the woman about what she ate there, then compares notes with Mrs. Parker to determine that the likely culprit was a potluck dish of beef stroganoff brought by a Nancy Dickson.
Brackett was a whirlwind on that one.

They have a porta-power jack brought in to brace the wall so they can remove the timber and free the boy, who declares on his stretcher that he wants to be a fireman when he grows up.
I wonder how many kids in the audience did the same.

OK, seeing the title I was afraid that they were following up Casey as a mental patient with Casey as a homeless person...
"Conventional law enforcement is not able to keep up with the rising number of homeless people...."

Luke Jenkins (Georg Stanford Brown)
One of the Rookies, and a frequent director thereafter.

(If a man is shot off camera and there are no IMFers there to hear it, does it make a sound?)
Yes, but Jim goes into a funk for days.

Fife shares with Jenkins his plan to deliver a bag of TNT charges to C6 instead of money
It would have been funnier if they used C-4. But I suppose they weren't trying to be funny.

Fife giving his delivery instructions to Casey and handcuffing the bag to her wrist (cuz he's into that sort of thing).
"The safe word is... haha, there is no safe word."

At the vet's office, Jud escapes from his unlocked cage, goes out a window, returns to Fife's place, and attacks Barney, knocking him out and revealing his disguise--Jim needs recruit this guy and add him to the portfolio!
Yeah, that puppy knows how to throw everything into chaos.

Fife unmasks and questions Barney, who dives out a window but is grazed in the head by a shot from Pete. Barney manages to get away, but is disoriented and has trouble walking.
More chaos!

A van accidentally hits Willy's car, knocking the tracking monitor out of commission.
Jeez, they should have called this episode "Murphy Attacks."

Jim makes a call to Fife posing as a Syndicate bigwig from back east.
They should just go back East and nip this problem in the bud. Nip it in the bud!

Willy busts in and shoots Al.
Whoa, Willy doesn't just carry things.

Cut to the IMFers, including a bandaged and recovering Barney, reuniting over a newspaper story about C6's exposure as a Syndicate-controlled politician.
I'm surprised they didn't milk the explosive angle, cutting it off Casey and throwing it out the window at the last second or something.

He was focused on the "featuring" and "starring" characters.
Ah.

The actress or the character?
The actress. She actually played a prostitute in Elmer Gantry. Somehow I had a memory of her backstage in a showgirl outfit, but I was a kid when I saw it. I'm probably combining two different scenes or movies or something.

Randall in his age makeup was doing crying that sounded kinda like Felix's allergy/sinus issues. Does that ring a bell?
Not at all. I guess it's possible that I never saw it.
 
Though, actually, I'm not sure if I knew that Davy Jones didn't play an instrument.
What, does tugging on the girls' heartstrings not count?

Ah, I kind of remember that. I don't remember anything about it, but I remember that it happened.
There'll be another animated pilot coming up soon, but one that went to series...

Mary's apartment is pretty small, so I suppose it could have two per floor, plus Rhoda's attic.
I get the impression that Mary's is the only one on that floor.

Yeah, I thought that was built in from day one.
So it's not just me. I was getting the vibe as things went along from the Rhoda/Phyllis relationship that Phyllis didn't seem to be Rhoda's landlady, so maybe this was a deliberate reset of the situation.

Hmm. I don't see Ted with a dog.
The unconditional love and affection would work for him.

"The reason I love my dog so much is because when I come home, he's the only one in the world who treats me like I'm the Beatles." --Bill Maher​

Let's hope they follow up on that plot thread.
Doubtful.

They did do a lot of cool location stunt work on this show. Now that I think of it, it must have been expensive.
There is lots of climby rescue stuff as I recall...but all no doubt shot in the L.A. area.

That must have made him look paranoid and delusional with all the other parts cut out. :rommie:
As these comic threads go, he tends to come off as pretty neurotic anyway. I was disappointed that we didn't get to see this early example play out.

I wonder how many kids in the audience did the same.
Quite a few, I imagine.

One of the Rookies, and a frequent director thereafter.
I should note that he was sporting a pretty Shaft look here wardrobe-wise.

Yes, but Jim goes into a funk for days.
That's just his withdrawal period from the tape fumes.

"The safe word is... haha, there is no safe word."
"Mmmph!"

More chaos!
I meant to note that this was a pretty interesting episode as this leg of the series goes, with all the kinks in the scheme.

I'm surprised they didn't milk the explosive angle, cutting it off Casey and throwing it out the window at the last second or something.
It was set to go off when the bag was opened with a key.
 
Davy Jones was the only one who didn't play an instrument.
I've heard Davy could play the drums. I think Mike said the line up should have been
  • Micky- vocals
  • Peter-guitar
  • Mike-bass
  • Davy-drums
Which might have looked a little like this.
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What, does tugging on the girls' heartstrings not count?
Awwww. :adore::rommie:

There'll be another animated pilot coming up soon, but one that went to series...
I was thinking that there was more than one.

I get the impression that Mary's is the only one on that floor.
It looks that way from the landing outside. Doing a little Googling, the apartment was supposed to be on the third floor (which makes the location of Rhoda's attic a little mysterious) and that does look kind of small. But the first two floors could have two apiece.

The unconditional love and affection would work for him.
True, but the expense and messiness would not. :rommie:

There is lots of climby rescue stuff as I recall...but all no doubt shot in the L.A. area.
Very different from the other Jack Webb shows, which must have been pretty low budget.

That's just his withdrawal period from the tape fumes.
So that's why he always accepts the missions! :rommie:

I meant to note that this was a pretty interesting episode as this leg of the series goes, with all the kinks in the scheme.
Yeah, that one was out of control. :rommie:
 
Interesting. I don't think it's that clear cut. A lot of bands and singers perform work written by others, which basically makes them hired performers. And there have been other producers who created studio bands. The Monkees took it to another level, of course, but with pretty good results.

Correct, and in the case of acts such as Elvis and groups like the Beatles and the Rolling Stones, they were making money from covers (and uncredited rips) of a number of songs recorded by others, so it can be argued that their breakthroughs to the public were built off of the labors and creations of other artists (who did not get the promotion, hype and celebration for their own work--you can guess some of the reasons why). Whiners from certain 60s bands appeared to take their knowledge of The Monkees from the typically hollow TV Guide columns, as each member either wrote, performed or recorded music before the group which made them famous. Tork (for one example) was widely known in the folk music club scene (and known for being formally trained on several instruments), Jones already had his own record and was a performer on Broadway. Dolenz was the guitarist of his own band and released a record, and we all know about Nesmith's pre-Monkees status as a songwriter.

The level of misguided attacks and flat-out jealousy was not a pretty look, and where playing the work of others was concerned, utterly ignorant of the business they chose to work in.
 
55 Years Ago This Week

February 5
  • Italy's first guided missile cruiser, the Vittorio Veneto, is launched.
  • General Anastasio Somoza Debayle becomes president of Nicaragua.
  • The Smothers Brothers Comedy Hour made its debut on the CBS television network. Hosted by 30-year old Tom Smothers and his 27-year-old brother Dick Smothers, the comedy variety show was a ratings success with the 15 to 24 year old demographic, and would be renewed for a second season. From its September 1 season premiere onward, it would become more controversial because of its radical political and countercultural views, and would be canceled on April 3, 1969.
  • The Beatles shoot sequences for their "Penny Lane" promotional film in Stratford, East London, riding horses and walking around the streets close by the Theatre Royal.

February 6
  • Alexei Kosygin arrives in the UK for an 8-day visit. He meets The Queen on February 9.
  • WBC world heavyweight boxing champion Muhammad Ali defeated the WBA's heavyweight champ, Ernie Terrell, at the Houston Astrodome. In the publicity leading up to the unification bout, Terrell had repeatedly used Ali's former name, Cassius Clay. Starting in the 8th round, Ali repeatedly shouted at Terrell, "What's my name? What's my name?" as he threw punches. The bout went the full 15 rounds, and Ali won in a unanimous decision. American newspapers remained divided about which name to use and sometimes compromised by using both in headlines. Ali would be stripped of both titles on April 28 for refusing induction into the U.S. Army.

February 7
  • The Chinese government announces that it can no longer guarantee the safety of Soviet diplomats outside the Soviet Embassy building.
  • Serious bushfires in southern Tasmania claim 62 lives, and destroys 2,642.7 square kilometres (653,025.4 acres) of land.
  • Mazenod College, Victoria, opens in Australia.
  • During the late morning the Beatles return once again to Sevenoaks, Kent, to film the dinner table/candelabra and horse-riding sequences for the "Penny Lane" clip.
  • Micky Dolenz met Paul McCartney at his home in St John's Wood, London, and they posed together for the press. His impressions of the visit would feature in the lyrics of "Randy Scouse Git", a title Dolenz borrowed from the British TV sitcom Till Death Us Do Part, not realising it was an offensive term.

February 9
  • The first of seven victims of the "Kenosha Killings", a 17-year-old girl, disappeared after leaving her home to walk to a drugstore. All of the people murdered between 1967 and 1981 lived between 64th Street and 67th Street in Kenosha, Wisconsin, and all would disappear at or near an alley that ran between those streets. The serial killings would remain unsolved fifty years later.
  • For the first time in Britain, the Beatles record music for an album--Sgt. Pepper--at studios other than Abbey Road--at Regent Sound Studios, London. The BBC television programme Top of the Pops is the first of many around the world to screen the Beatles' brand-new promotional films, for "Penny Lane" and "Straberry Field Forever".

February 10
  • The 25th Amendment to the United States Constitution (presidential succession and disability) is ratified.
  • Cameras enter Abbey Road studios for the Beatles to film a cinéma vérité promotional clip to accompany the track "A Day in the Life".

February 11 – Burgess Ice Rise, lying off the west coast of Alexander Island, Antarctica, is first mapped by the British Antarctic Survey (BAS).


Selections from Billboard's Hot 100 for the week:
1. "I'm a Believer," The Monkees
2. "Georgy Girl," The Seekers
3. "Kind of a Drag," The Buckinghams
4. "Ruby Tuesday," The Rolling Stones
5. "(We Ain't Got) Nothin' Yet," The Blues Magoos
6. "Tell It Like It Is," Aaron Neville
7. "98.6," Keith
8. "Snoopy vs. The Red Baron," The Royal Guardsmen
9. "Love Is Here and Now You're Gone," The Supremes
10. "The Beat Goes On," Sonny & Cher
11. "I Had Too Much to Dream (Last Night)," The Electric Prunes

13. "Green, Green Grass of Home," Tom Jones
14. "Words of Love," The Mamas & The Papas
15. "Music to Watch Girls By," The Bob Crewe Generation
16. "Then You Can Tell Me Goodbye," The Casinos
17. "Gimme Some Lovin'," The Spencer Davis Group
18. "Standing in the Shadows of Love," Four Tops
19. "Good Thing," Paul Revere & The Raiders
20. "Wild Thing," Senator Bobby feat. Bill Minkin
21. "Mercy, Mercy, Mercy," Cannonball Adderley
22. "Nashville Cats," The Lovin' Spoonful
23. "Knight in Rusty Armour," Peter & Gordon
24. "It's Now Winter's Day," Tommy Roe
25. "Pretty Ballerina," The Left Banke

27. "Go Where You Wanna Go," The 5th Dimension
28. "Colour My World," Petula Clark
29. "It Takes Two," Marvin Gaye & Kim Weston
30. "Bring It Up," James Brown
31. "Tell It to the Rain," The Four Seasons
32. "You Got to Me," Neil Diamond
33. "I've Passed This Way Before," Jimmy Ruffin
34. "Where Will the Words Come From?," Gary Lewis & the Playboys

39. "How Do You Catch a Girl," Sam the Sham & The Pharaohs
40. "Pushin' Too Hard," The Seeds
41. "Sugar Town," Nancy Sinatra

46. "The Hunter Gets Captured by the Game," The Marvelettes

49. "Baby I Need Your Lovin'," Johnny Rivers

51. "So You Want to Be a Rock 'n' Roll Star," The Byrds

53. "I've Been Lonely Too Long," The Young Rascals

55. "Niki Hoeky," P.J. Proby
56. "For What It's Worth (Stop, Hey What's That Sound)," Buffalo Springfield
57. "Let's Spend the Night Together," The Rolling Stones
58. "Sock It to Me, Baby!," Mitch Ryder & The Detroit Wheels
59. "Everybody Needs Somebody to Love," Wilson Pickett
60. "Let's Fall in Love," Peaches & Herb

69. "Epistle to Dippy," Donovan

71. "California Nights," Lesley Gore

79. "Happy Together," The Turtles
80. "Sit Down, I Think I Love You," The Mojo Men

82. "I Think We're Alone Now," Tommy James & The Shondells

84. "Darling Be Home Soon," The Lovin' Spoonful

90. "There's a Kind of Hush," Herman's Hermits


Leaving the chart:
  • "(I'm Not Your) Steppin' Stone," The Monkees (8 weeks)
  • "Single Girl," Sandy Posey (12 weeks)
  • "Try a Little Tenderness," Otis Redding (10 weeks)
  • "Winchester Cathedral," The New Vaudeville Band (15 weeks)

New on the chart:

"Epistle to Dippy," Donovan
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(#19 US)

"Darling Be Home Soon," The Lovin' Spoonful
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(#15 US; #44 UK)

"There's a Kind of Hush," Herman's Hermits
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(#4 US; #7 UK)

"I Think We're Alone Now," Tommy James & The Shondells
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(#4 US)

"Happy Together," The Turtles
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(#1 US the weeks of Mar. 25 through Apr. 8, 1967; #12 UK)


And new on the boob tube:
  • The Ed Sullivan Show, Season 19, episode 22
  • Gilligan's Island, "Gilligan's Personal Magnetism"
  • The Monkees, "The Prince and the Paupers"
  • The Rat Patrol, "The Exhibit A Raid"
  • The Invaders, "Genesis"
  • Batman, "Batman's Anniversary"
  • Batman, "A Riddling Controversy"
  • Star Trek, "The Return of the Archons"
  • That Girl, "Paper Hats and Everything"
  • The Green Hornet, "Bad Bet on a 459-Silent"
  • The Wild Wild West, "The Night of the Vicious Valentine"
  • Tarzan, "Basil of the Bulge"
  • The Time Tunnel, "Billy the Kid"
  • Hogan's Heroes, "Heil Klink"
  • The Avengers, "Escape in Time"
  • Mission: Impossible, "The Legend"
  • Get Smart, "The Girls from KAOS"

_______

Timeline entries are quoted from the Wiki pages for the month or year and Mark Lewisohn's The Beatles Day by Day, with minor editing as needed.

_______

I was thinking that there was more than one.
Also this season, there'll be a live-action pilot that becomes one of the biggest TV series of the decade.

True, but the expense and messiness would not. :rommie:
Keep in mind that his hand puppet was of a dog as well.

So that's why he always accepts the missions! :rommie:
That was your joke in the first place...:p
 
Last edited:
Ali would be stripped of both titles on April 28 for refusing induction into the U.S. Army.
He went to jail for it too. He was The Greatest.

"Epistle to Dippy," Donovan
Not one of his classics, but it's still got that unique Donovan sound from the height of his genius.

"Darling Be Home Soon," The Lovin' Spoonful
One of my all-time favorites. Top 5.

"There's a Kind of Hush," Herman's Hermits
Oldies Radio Classic. Also, "There's a kind of Hutch all over the world" was a kind of catchphrase among my friends. :rommie:

"I Think We're Alone Now," Tommy James & The Shondells
Oldies Radio Classic.

"Happy Together," The Turtles
And another Oldies Radio Classic. This was a good week.

Also this season, there'll be a live-action pilot that becomes one of the biggest TV series of the decade.
Oh, yeah, I remember that one. Although I think there was some recasting involved.

Keep in mind that his hand puppet was of a dog as well.
Maybe that's the dog he was talking about. :rommie:

That was your joke in the first place...:p
I've really got to keep a database or something. :rommie:
 
Not one of his classics, but it's still got that unique Donovan sound from the height of his genius.
This is where he just makes me smile.

One of my all-time favorites. Top 5.
Interesting. A pleasant-sounding relative obscuro to me.

Oldies Radio Classic.
After a string of hits that oldies radio forgot, they pull out one more such classic.

Oldies Radio Classic.
A memorable bit of period pop.

And another Oldies Radio Classic. This was a good week.
Indeed, a solid collection of entries.

Oh, yeah, I remember that one. Although I think there was some recasting involved.
And speaking of that recasting, it was the lead of the animated series who ended up being cast as the replacement co-star of the live action series.
 
Correct, and in the case of acts such as Elvis and groups like the Beatles and the Rolling Stones, they were making money from covers (and uncredited rips) of a number of songs recorded by others, so it can be argued that their breakthroughs to were built off of the labors and creations of other artists

Your admiration for The Monkees is to be lauded, as inexplicable as it may be. :)

I always smile when you try to compare the Monkees to legit bands in an attempt to define them as a “normal” band.

The Monkees not composing any of their biggest hits isn’t the reason they are generally not respected as a band. Lots of great music artistes have relied solely on other composers (Elvis, Motown artists). Does anyone care that they didn’t write those songs?

Performing material written by others is not the definition of a “cover,” A cover is when you perform or record a song that was RECORDED by someone before your performance of the song. The Beatles performance and recording, of Long Tall Sally, or the Stones performance of Not Fade Away, are both legit “covers.” I can’t recall the Monkees recording a cover while they were on Tv. But most of their recordings back then were original compositions written for them. Those were not covers.

BTW, as far as I know, the Beatles early recorded covers were all properly credited, which means the original artists were given credit and paid royalties. I know they got into some hot water late in their career over copyright issues, but they never recorded a cover and tried to evade giving credit. Their early hits were mostly original songs, with a few properly credited covers sprinkled in.

Pretty much same for Stones early on. Not Fade, and It’s All Over Now were early big hit covers for them. I think I recall reading that either Sam Cooke or Bobby Womack were not too mad about that. So, they got credit and paid.

(who did not get the promotion, hype and celebration for their own work--you can guess some of the reasons why).

I’m as quick as anyone to point out racism and corrupt and unfair dealings in the music industry, but if you’re referring to the Beatles here, you’re wrong. As stated earlier, they always gave proper credit, publicly and financially,, to artists whose recordings they covered.

With 20 something odd weeks of national TV exposure emery week for 2 years, NOONE got more hype and exposure than the Monkees back then.


Whiners from certain 60s bands appeared to take their knowledge of The Monkees from the typically hollow TV Guide columns, as each member either wrote, performed or recorded music before the group which made them famous. Tork (for one example) was widely known in the folk music club scene (and known for being formally trained on several instruments), Jones already had his own record and was a performer on Broadway. Dolenz was the guitarist of his own band and released a record, and we all know about Nesmith's pre-Monkees status as a songwriter.

The level of misguided attacks and flat-out jealousy was not a pretty look, and where playing the work of others was concerned, utterly ignorant of the business they chose to work in.

The reason some 60’s bands may have resented The Monkees success is probably because they were perceived as being the recipients of rewards that were undeserved. Can you blame them? It might have been different if The Monkees had been a band before the show, out there working, and then got tapped to play a band in a weekly TV show, but the Mokees weren’t even that. They were 4 guys who answered a. casting call for actors to audition for the roles of four Beatles-esque bandmates in a TV sitcom.. The original casting call didn’t even make musical ability a requirement.

Then, after the ABC hype machine cranks up and they get’ spoon fed great songs, The Monkees become huge. No dues paid and the table completely set for them.

I completely understand any resentment from working bands whether they were actually talented or not.
 
Interesting. A pleasant-sounding relative obscuro to me.
It's very low key, but the line "the great relief of having you to talk to" has a great understated profundity.

And speaking of that recasting, it was the lead of the animated series who ended up being cast as the replacement co-star of the live action series.
Very interesting. Everything is connected....
 
50 Years Ago This Week

February 7 – The Federal Election Campaign Act was signed into law by U.S. President Nixon, taking effect on April 7.

February 9 – Wings make a surprise and unannounced appearance at Nottingham University, at the start of a low-key tour of British universities.

February 10
  • Kinney Services, Inc., a conglomerate which had purchased the Warner Bros. studio in 1969, completed reorganization as shareholders approved its disincorporation in New York and its reincorporation in Delaware, with the new name of Warner Communications, Inc. The company, which now owns Turner Broadcasting, HBO, Cinemax, DC Comics, New Line Cinema, ViacomCBS and part of TheCW television network, is now known as WarnerMedia.
  • David Bowie opened his concert tour with his new alter ego of "Ziggy Stardust", starting at the Toby Jug Pub in Tolworth.
  • The BBC and IBA ban airplay of Wings' imminent debut single "Give Ireland Back to the Irish".


Selections from Billboard's Hot 100 for the week:
1. "Let's Stay Together," Al Green
2. "American Pie," Don McLean
3. "Without You," Nilsson
4. "Precious and Few," Climax
5. "Never Been to Spain," Three Dog Night
6. "Hurting Each Other," Carpenters
7. "Down by the Lazy River," The Osmonds
8. "Joy," Apollo feat. Tom Parker
9. "Brand New Key," Melanie
10. "Day After Day," Badfinger
11. "Clean Up Woman," Betty Wright
12. "Sunshine," Jonathan Edwards
13. "Anticipation," Carly Simon
14. "The Lion Sleeps Tonight," Robert John
15. "Black Dog," Led Zeppelin
16. "Sweet Seasons," Carole King
17. "Stay with Me," Faces
18. "Scorpio," Dennis Coffey & The Detroit Guitar Band
19. "Drowning in the Sea of Love," Joe Simon
20. "You Are Everything," The Stylistics

23. "Don't Say You Don't Remember," Beverly Bremers
24. "Fire and Water," Wilson Pickett

25. "Bang a Gong (Get It On)," T. Rex
26. "My World," Bee Gees

28. "Everything I Own," Bread
29. "The Way of Love," Cher
30. "Floy Joy," The Supremes
31. "I'd Like to Teach the World to Sing (In Perfect Harmony)," The New Seekers
32. "Sugar Daddy," Jackson 5
33. "Feeling Alright," Joe Cocker
34. "Footstompin' Music," Grand Funk Railroad
35. "Ain't Understanding Mellow," Jerry Butler & Brenda Lee Eager
36. "I'd Like to Teach the World to Sing (in Perfect Harmony)," The Hillside Singers

38. "Levon," Elton John
39. "Heart of Gold," Neil Young

42. "Make Me the Woman That You Go Home To," Gladys Knight & the Pips

44. "Jungle Fever," The Chakachas

49. "I Gotcha," Joe Tex

51. "Mother and Child Reunion," Paul Simon
52. "Runnin' Away," Sly & The Family Stone

61. "Talking Loud and Saying Nothing, Part 1," James Brown

64. "Iron Man," Black Sabbath

68. "Slippin' into Darkness," War

71. "Rock and Roll Lullaby," B. J. Thomas
72. "Diamonds Are Forever," Shirley Bassey

88. "Roundabout," Yes


Leaving the chart:
  • "Family Affair," Sly & The Family Stone (14 weeks)
  • "It's One of Those Nights (Yes Love)," The Partridge Family (8 weeks)
  • "Those Were the Days," Carroll O'Connor & Jean Stapleton (as the Bunkers) (9 weeks)

Recent and new on the chart:

"Diamonds Are Forever," Shirley Bassey
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(Jan. 29; #57 US; #14 AC; #38 UK)

"Talking Loud and Saying Nothing, Part 1," James Brown
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(#27 US; #1 R&B)

"Rock and Roll Lullaby," B. J. Thomas
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(#15 US; #1 AC)

"Roundabout," Yes
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(#13 US)


And new on the boob tube:
  • Hawaii Five-O, "Cloth of Gold"
  • Adam-12, "Mary Hong Loves Tommy Chen"
  • The Brady Bunch, "Sergeant Emma"
  • The Partridge Family, "H-e-l-l-l-l-l-p!!!"
  • The Odd Couple, "Good, Bad Boy"
  • Love, American Style, "Love and the Bachelor Party / Love and the Latin Lover / Love and the Old-Fashioned Father / Love and the Test of Manhood"
  • All in the Family, "Edith Gets a Mink"
  • The Mary Tyler Moore Show, "Where There's Smoke, There's Rhoda"
  • Emergency!, "Cook's Tour"
  • Mission: Impossible, "Double Dead"

_______

Timeline entries are quoted from the Wiki pages for the month or year and Mark Lewisohn's The Beatles Day by Day, with minor editing as needed.

_______
 
Lots of great music artistes have relied solely on other composers (Elvis, Motown artists). Does anyone care that they didn’t write those songs?

In the case of Elvis, certain fanbases have selective memory--or they allow the cult of personality (all of that fraudulent "King of rock n Roll" on-bended-knee BS) to act as if he was a self-contained creative force when nothing could be more far removed from the truth.

Performing material written by others is not the definition of a “cover,” A cover is when you perform or record a song that was RECORDED by someone before your performance of the song. The Beatles performance and recording, of Long Tall Sally, or the Stones performance of Not Fade Away, are both legit “covers.”

When I say "written, " it means the act in question did not create the material.

I can’t recall the Monkees recording a cover while they were on Tv.

There's "(I'm Not Your) Steppin' Stone" which was first recorded/released by Paul Revere and the Raiders in May of 1966 for their album, Midnight Ride.


I’m as quick as anyone to point out racism and corrupt and unfair dealings in the music industry, but if you’re referring to the Beatles here, you’re wrong. As stated earlier, they always gave proper credit, publicly and financially,, to artists whose recordings they covered.

I'll refer to a 1982 Playboy interview with Paul McCartney, where he revealed how certain Beatles songs were composed:

"Oh, yeah. We were the biggest nickers in town. Plagiarists extraordinaires."

No one--even McCartney himself--ever said that admission was with tongue in cheek. That they were--as McCartney put it--"Plagiarists extraordinaires" was known long before the Playboy interview.

With 20 something odd weeks of national TV exposure emery week for 2 years, NOONE got more hype and exposure than the Monkees back then.

The marriage of art and business never sought to create an environment of equal access or promotion. It should be pointed out that in the decade of the 1960s alone, Elvis had twenty-seven films released (1960's G.I.Blues to 1969's Change of Habit), where his music was routinely a part of the soundtracks, thus giving his music more promotion than any other artist of the era--the Monkees included in terms of longevity and (arguably) total running time--but were the anti-Monkees types pissed at that? Even as Presley's career hit peaks and valleys in the 60s, those complaining acts were never--ever going to reach that level of exposure / promotion of his music. If they had cause to complain, they should have started there, with one of the most constructed acts in history.

The reason some 60’s bands may have resented The Monkees success is probably because they were perceived as being the recipients of rewards that were undeserved. Can you blame them?

The problem is that aforemnentioned TV Guide column level of knowledge from most of the complainers: they accused the group of being nothing but actors (using that to support their "not musicians" claim) and either did not know the musical background of all four or consciously ignored it. There's a vast difference between an assembled act with members with records, songwriting, musical and club experience under their belts, and the kind of thing one would see on TV series such as The Donna Reed Show, where Shelly Fabares and Paul Peterson were more or less recruited into recording songs, when they were only actors with no musical background or ambitions.


It might have been different if The Monkees had been a band before the show, out there working, and then got tappedThey were 4 guys who answered a. casting call for actors to audition for the roles of four Beatles-esque bandmates in a TV sitcom.. The original casting call didn’t even make musical ability a requirement.

Not quite correct; all who answered the ad were informed that they needed some musical ability in order to (among other things) make concert appearances (which was already intended). Those who had no musical ability were dismissed. Further, Schneider and Rafelson were aware of Nesmith's songwriting ability/credits, and despite the initial arrangement of the first album, was guaranteed he would write and produce his own songs--which is what happened. Additionally, Tork--a multi-instrumentalist--played on albums from the start, contrary to the tired story which has as much of a connection with truth as believing Columbus discovered America.

Then, after the ABC hype machine

NBC.
 
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Context
PLAYBOY: "What about 'Not a Second Time'?"

PAUL: "Influenced by Smokey Robinson and the Miracles."

PLAYBOY: "'Please Mr. Postman.'"

PAUL: "Influenced by the Marvelettes, who did the original version. We got it from our fans, who would write PLEASE MR. POSTMAN on the back of the envelopes. 'Posty, posty, don't be slow, be like the Beatles and go, man, go!' That sort of stuff."

PLAYBOY: "'I Should Have Known Better.'"

PAUL: "You should have studied before you took this Interview! 'I Should Have Known Better' was one of John's; it was in 'A Hard Day's Night.'"

PLAYBOY: "'If I Fell.'"

PAUL: "This was our close-harmony period. We did a few songs... 'This Boy,' 'If I Fell,' 'Yes It Is' ...in the same vein, which were kind of like the Fourmost- an English vocal group, only not really."

PLAYBOY: "So you took things from other groups; you heard what other pop groups were doing."

PAUL: "Oh, yeah. We were the biggest nickers in town. Plagiarists extraordinaires."
 
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