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The Classic/Retro Pop Culture Thread

It's one I hadn't been familiar with until I was building my singles collection, despite years of oldies radio listening (though Sirius plays it a lot). It took on a particular poignancy for me when it came to my attention that it was in the Top 10 the week I was born.
It has a strong presence in my childhood memories, especially the lyrics "I swear there ain't no heaven, but I pray there ain't no hell."

So...anyone have an opinion about Barbarella? I've got it set to record in a couple weeks, though it won't be coming up for 50th anniversary viewing until the Fall.
Visually wonderful, but I never liked Jane Fonda so it was hard to get into. I bought the DVD a while back to give it another try, but I haven't gotten around to watching it yet.
 
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50th Anniversary Viewing

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Mission: Impossible
"Recovery"
Originally aired March 17, 1968
Wiki said:
When [a] U.S. bomber crashes behind the Iron Curtain, the IMF must recover its fail-safe before a brilliant U.S. defector (Bradford Dillman, who previously starred in Court Martial alongside Peter Graves) can reveal its secrets to the communists.


Another day another reel-to-reel tape in a parking lot attendant's booth said:
Please dispose of this recording in the usual manner. Good luck, Jim.
The "usual manner" is putting it in an ashtray where it bursts into flames. They skip the portfolio scene this time and go straight to the team briefing, with the additional credits following the briefing scene.

Dillman is quite the chameleon...I just saw him in a TMFU episode this season, and he's nearly unrecognizable as the same actor playing the defected scientist, Shipherd.

Jim's first role in the scheme is to play a captured pilot from the American bomber, for which he sports darkened hair. But just when I was fearing that we wouldn't be getting what I'd expect from a behind-the-Curtain premise, Jim switches to a different role as a local, with Willy joining in on the entertainingly-bad-accent fun.

Rollin plays a wheelchair-bound American scientist with a heart condition who "secretly" manufactures the failsafe unit, making him and his wife/doctor, Cinnamon, bait for Dillman's character. Barney pulls some in-role trickery and TV Fu as Rollin's assistant.

Once again we get the novelty of somebody else being disguised as Rollin, as Rollin fakes death and switches identities with Shipherd to escape while smuggling Shipherd out of the country.

The show ends its season in good form. I quite enjoyed it and look forward to more. I managed to pull together a full set of Season 3 episodes from what looks like three different Decades binges. Hopefully they'll get around to running more Season 4 episodes in the meantime, as my collection of those is very gappy. And I wouldn't mind catching those seven Season 1 episodes that I missed.

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The Avengers
"The Forget-Me-Knot"
Originally aired March 20, 1968 (US); September 25, 1968 (UK)
Wiki said:
A new drug which causes instant amnesia makes his fellow agents forget Steed. Diana Rigg bows out as Mrs Emma Peel and her replacement, Miss Tara King, is introduced – the two women pass each other on the stairs and Peel advises King about how to prepare Steed's tea – together with Steed’s new boss: a plump, jovial man, code-named Mother (who, in a spoof of the US television series Ironside, runs the department from his wheelchair).

I didn't see much of a Mother/Ironside connection beyond the wheelchair.

It's nice that Peel is in so much of the episode...they use her opening credits for the last time. I saw references in IMDb reviews to this episode not having been shot as her last, but the show's Wiki page says that it was actually filmed a few episodes into the season, and that they got Rigg back especially to do it.

Tara makes a cute debut...she's a spunky agent-in-training and all of that. A common complaint that I read in reviews is that she's much more deferential to Steed than his previous partners were. The designation "Agent 69" is a bit thirteen-year-old.

The story is a bit padded with too many scenes of characters trying to remember who they are and who they know. The part where Peel wakes up next to Mortimer might have been considered too risque for American TV at the time.

The bit of business about Peel's long-lost husband turning up comes out of nowhere in the epilogue. The parting scene between Peel and Steed is nice. We don't get a good look at Mr. Peel, but the episode ends on the gag that he bears some resemblance to Steed, sporting a bowler and umbrella.

THE END
of
EMMA PEEL
but Diana Rigg will be back
ON HER MAJESTY'S SECRET SERVICE

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Ironside
"Trip to Hashbury"
Originally aired March 21, 1968
Wiki said:
A conspiracy complicates Ironside's investigation of a hippie's fatal beating - that was allegedly administered by Ed.

Our top-billed guest is William Windom as attorney Eldon Chase, the father of Barbara, the girl who was allegedly beaten by Ed...but to clarify the episode description, she's alive, hospitalized, and actively accusing Ed following the incident...she dies of complications halfway into the episode.

This is a very sign o' the times episode revolving around "weekend hippies" hanging out at the pad of a groovy cat named Freddie (Cliff Osmond), who refers to Ironside as "Ol' Fuzz-on-Wheels". We get some decent live-in-episode psychedelic music from what IMDb identifies as the Hook, a band under contract with a record company owned by Universal Studios. During Ed and Eve's initial foray into Freddie's Pad, they briefly break into the show's theme.

Trying to flush out a fellow student whom Barbara may have called that night, Ironside takes a private school classroom on a field trip to Freddie's Pad. The confidante is outed, and identifies the likely assailant as a character she hasn't seen nicknamed Prince Valiant. Team Ironside deduces that he was thus named because he blended in by wearing a "Beatle cut" wig, and he turns out to have been Barbara's letterman sweater-wearing boyfriend David. I suspected him early, partly because he was kind of conspicuous being in the episode at all, but mainly because the IMDb page for the episode chose to use a picture of him.

There's a subplot about the underage girl whom Ed and Eve were trying to find at Freddie's in the first place. She rebelled out of an expressed need for her parents to care enough about her to enforce some discipline. In the episode's coda, when Ironside relates how she's returned to her parents, he surmises that she's gotten her first spanking. Kind of an odd beat to play with a 15-year-old character being portrayed by a 21-year-old actress.

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TGs2e26.jpg
"If You Were Almost the Only Man in the World"
Originally aired March 21, 1968
Wiki said:
After being hit by a fly ball at a baseball game, Ann meets a doctor who bears a striking resemblance to Donald.

Waking up in the hospital to see the familiar face of Ted Bessell looming over her, Ann initially thinks that Dr. Rex Kennedy is Donald, and the doctor thinks that she's crazy. Once it's all straightened out, Kennedy takes advantage of her pre-conditioned attraction to him to start hitting on her...I think that wouldn't go well for him today.

When Kennedy visits Ann's apartment, Mr. Marie comes by and thinks he's Donald, too. Kennedy comes back to her apartment with no glasses and lightened hair to prove that Ann couldn't tell the difference between him and Donald. This is one of those cases where you have to think that there'd be a million things she could ask him at this point that only Donald would know.

Ultimately Donald returns from his trip and we get the obligatory split-screen meeting of the Bessells.

"Oh, Donald" count: 6 (mostly for the wrong guy)
"Oh, Daddy" count: 0

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Tarzan
"Trina"
Originally aired March 22, 1968?
H&I said:
A girl enlists Tarzan's help in locating her long-lost uncle.

Here's another bit of episode order confusion....IMDb and Wiki agree that this episode aired on this date, but H&I swaps the order of this installment and next week's, leading one to wonder which was actually the series finale. One other online source indicates that this was the earlier episode in production order in any case.

Tarzan happens upon the titular character and her entourage of six other pretty young women. This is sort of a pseudo-hippie episode...the young ladies aren't hippie types per se, but much emphasis is placed on them being representatives of the general youth culture of the time. Trina uses the word "groovy" a lot, mentions not trusting anyone over 30, and has a conversation with Tarzan about picking up vibes. One of the other girls has a cassette player that serves as an excuse for source music that's uncharacteristically poppy for the show. Another of the girls is a TOS guest I wouldn't have spotted without online help: Susan Howard (Mara, "Day of the Dove") as Gloria. Gloria and a pal help Tarzan in a fight, being disciples of karate...or TV Fu.

Trina's long-lost uncle turns out to be a non-native tribal leader played by Nehemiah Persoff. Uncle Ben, who has a reputation for being a humanitarian but has developed an overbearingly paternalistic relationship with the tribespeople, has been using forced labor to bring in a cannon. He thinks that what he's doing is for the people's own good.

The girls help free Trina from being kept under guard in her uncle's house, and she in turn helps Tarzan by getting word out to a rival tribal leader. This sequence includes the photographer in Trina's posse having Tarzan's guard pose for pictures. The way he mugs for the camera, it's evident that his people don't believe in that soul-stealing business.

After Uncle Ben falls victim to poetic justice, Trina stays around to continue the good work that he'd previously been known for.
Trina said:
My uncle was a groovy guy, in spite of the way it all ended for him.

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Get Smart
"The Hot Line"
Originally aired March 23, 1968
Wiki said:
A KAOS voice impersonator (John Byner) fires the Chief over the phone while pretending to be President Johnson. Max becomes the new Chief; the Chief reverts to his old status as Agent Q, and realizes he can only save his old job by discovering the location of a KAOS communications center. The title refers to telephone connection between the White House and the Kremlin set up after the Cuban missile crisis that almost caused nuclear war. In this episode Edward Platt uses his operatically trained singing voice. Regis Philbin appears as a CONTROL operative in a bakery.

Contrary to popular conception, the Moscow-Washington hotline originally used a teletype device, and has never used a telephone.

Byner's character is name Gorshen; in addition to playing the Riddler, Frank Gorshin was a well-known impressionist at the time. Now Byner does a distinctly recognizable LBJ...and that's not the only gag revolving around our soon-to-be-lame-duck CIC...In addition to the Chief's hotline to the prez being disguised as a cattle horn, the hotline's speaker phone is a Texas Longhorn head mounted on the wall behind a sliding bookshelf.

Putting Max in charge of CONTROL is certainly a good plan on KAOS's part; OTOH, they have to deal with a more competent than usual field agent infiltrating their operation.

Gorshen sends a KAOS agent to CONTROL posing as LBJ's efficiency expert.
Max: I can trust him like I can trust L.
99: L?
Max: LBJ--We're on a first-name basis now.


Max has an ice cream cone phone in this one. We also get...
Max said:
The old "communications equipment in the French bread" trick.

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50 Years Ago This Week
March 24 – Aer Lingus Flight 712 crashes en route from Cork to London near Tuskar Rock, Wexford, killing 61 passengers and crew.
March 26 – Joan Baez marries activist David Harris in New York.
March 28 – Brazilian high school student Edson Luís de Lima Souto is shot by the police in a protest for cheaper meals at a restaurant for low-income students. The aftermath of his death is one of the first major events against the military dictatorship.
In Beatle news, Paul and then-girlfriend Jane Asher return from Rishikesh this week.


Selections from Billboard's Hot 100 for the week:
1. "(Sittin' on) The Dock of the Bay," Otis Redding
2. "Love Is Blue (L'amour Est Bleu)," Paul Mauriat & His Orchestra
3. "Valleri," The Monkees
4. "Simon Says," 1910 Fruitgum Co.
5. "Sweet Sweet Baby (Since You've Been Gone)," Aretha Franklin
6. "La-La Means I Love You," The Delfonics
7. "Young Girl," The Union Gap feat. Gary Puckett
8. "The Ballad of Bonnie and Clyde," Georgie Fame
9. "Lady Madonna," The Beatles
10. "(Theme from) Valley of the Dolls," Dionne Warwick
11. "Mighty Quinn (Quinn the Eskimo)," Manfred Mann
12. "Just Dropped In (To See What Condition My Condition Was In)," The First Edition
13. "Scarborough Fair / Canticle," Simon & Garfunkel
14. "Dance to the Music," Sly & The Family Stone
15. "Cry Like a Baby," The Box Tops
16. "Kiss Me Goodbye," Petula Clark
17. "I Thank You," Sam & Dave
18. "If You Can Want," Smokey Robinson & The Miracles
19. "I Got the Feelin'," James Brown & The Famous Flames
20. "The End of Our Road," Gladys Knight & The Pips
21. "Playboy," Gene & Debbe
22. "I Wish It Would Rain," The Temptations
23. "Honey," Bobby Goldsboro
24. "Will You Love Me Tomorrow," The Four Seasons

26. "Everything That Touches You," The Association
27. "Sweet Inspiration," The Sweet Inspirations
28. "Love Is All Around," The Troggs
29. "Bottle of Wine," The Fireballs
30. "Jennifer Juniper," Donovan
31. "Spooky," Classics IV

33. "Too Much Talk," Paul Revere & The Raiders feat. Mark Lindsay

35. "Words," Bee Gees
36. "There Is," The Dells

38. "Summertime Blues," Blue Cheer

42. "Cowboys to Girls," The Intruders

44. "Forever Came Today," Diana Ross & The Supremes

46. "Carpet Man," The 5th Dimension
47. "The Good, the Bad and the Ugly," Hugo Montenegro, His Orchestra & Chorus
48. "Take Time to Know Her," Percy Sledge
49. "The Unicorn," The Irish Rovers
50. "Mission: Impossible," Lalo Schifrin

53. "Funky Street," Arthur Conley

60. "Sunshine of Your Love," Cream

63. "U.S. Male," Elvis Presley

67. "Delilah," Tom Jones

79. "The Unknown Soldier," The Doors
80. "Call Me Lightning," The Who
81. "Tighten Up," Archie Bell & The Drells

82. "Up from the Skies," The Jimi Hendrix Experience

94. "Master Jack," Four Jacks and a Jill

96. "The Inner Light," The Beatles


Leaving the chart:
  • "I Can Take or Leave Your Loving," Herman's Hermits
  • "I Wonder What She's Doing Tonight?," Tommy Boyce & Bobby Hart
  • "Walk Away Renee," Four Tops
  • "We're a Winner," The Impressions

New on the chart:

"The Inner Light," The Beatles
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(B-side of "Lady Madonna"; #96 US)

"Call Me Lightning," The Who
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(#40 US)

"The Unknown Soldier," The Doors
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(#39 US)

"Master Jack," Four Jacks and a Jill
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(#18 US; #3 AC)

"Tighten Up," Archie Bell & The Drells
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(#1 US the weeks of May 18 and 25; #1 R&B; #55 UK; #265 on Rolling Stone's 500 Greatest Songs of All Time)


And new on the boob tube:
  • The Ed Sullivan Show, Season 20, episode 29, featuring Diana Ross & the Supremes, Spanky & Our Gang, Charlie Cairoli & Co., and George Carlin
  • Rowan & Martin's Laugh-In, Season 1, episode 9
  • The Avengers, "Invasion of the Earthmen"
  • Ironside, "Due Process of Law"
  • That Girl, "Just Spell the Name Right"
  • Tarzan, "Alex the Great" (series finale...or is it?)
  • Star Trek, "Assignment: Earth" (season finale)
  • Get Smart, "Die, Spy"
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Tara makes a cute debut...she's a spunky agent-in-training and all of that. A common complaint that I read in reviews is that she's much more deferential to Steed than his previous partners were.

I recall not liking Tara King all that much. She didn't measure up well to Mrs. Peel at all.


The bit of business about Peel's long-lost husband turning up comes out of nowhere in the epilogue. The parting scene between Peel and Steed is nice. We don't get a good look at Mr. Peel, but the episode ends on the gag that he bears some resemblance to Steed, sporting a bowler and umbrella.

It's just so '60s. A single woman or a widower could excel in a career, but give her a husband and she's obligated to become a full-time wife and mother. Kind of an ignominious end for the character in modern terms, though in the context of the era, it was a logical way to write her out with a happy ending.


I suspected him early, partly because he was kind of conspicuous being in the episode at all, but mainly because the IMDb page for the episode chose to use a picture of him.

In my experience, IMDb episode photos are often incredibly random, and are just as likely to feature an extra glimpsed for 30 seconds in the teaser as a major guest star. I assume there's some sort of algorithm picking the photos.


Now Byner does a distinctly recognizable LBJ...and that's not the only gag revolving around our soon-to-be-lame-duck CIC...

I find it surprising that they were able to mention LBJ by name (or at least by initials). Batman had to keep the President's identity implicit when the Caped Crusader spoke on the phone to him.
 
I recall not liking Tara King all that much. She didn't measure up well to Mrs. Peel at all.
She strikes me as being watchable in her own right, at least. It's too early to tell for sure, but that's my first impression.

It's just so '60s. A single woman or a widower could excel in a career, but give her a husband and she's obligated to become a full-time wife and mother. Kind of an ignominious end for the character in modern terms, though in the context of the era, it was a logical way to write her out with a happy ending.
To put a more forgiving spin on it, it's understandable that she'd take a leave to spend time with her lost-and-thought-dead husband. Also, Avenging wasn't supposed to be Peel's full-time career. All of Steed's partners up to this point were supposed to be "talented amateurs" whom Steed partnered with. Tara, while only a trainee when we meet her, was the only partner who was a career spy in Steed's "Organisation".

I find it surprising that they were able to mention LBJ by name (or at least by initials). Batman had to keep the President's identity implicit when the Caped Crusader spoke on the phone to him.
I never got the impression that there was any actual rule, just that shows like Batman were being coy about the president's identity. In any case, IIRC, Get Smart kept the dropping of LBJ's initials away from the scenes when they're talking with the person they think is the President on the hotline...i.e., "the President" wasn't directly identified as LBJ.
 
Not so much a rule, but in the early decades of film and TV, it was kind of an unwritten tradition that it was disrespectful to the office to depict the President, even a fictional one, on camera. That's why so many older movies and shows just portray the POTUS as a voice on a phone (heard or unheard) or a figure seen only from the rear. Standards have changed a great deal since then.
 
Tara makes a cute debut...she's a spunky agent-in-training and all of that.
One of my strongest TV memories from the 60s is the old brick-in-the-pocketbook trick. :rommie:

A common complaint that I read in reviews is that she's much more deferential to Steed than his previous partners were.
They figured the best way to go was to not try to duplicate Mrs Peel. Undoubtedly a wise idea. And I do like Tara.

The bit of business about Peel's long-lost husband turning up comes out of nowhere in the epilogue. The parting scene between Peel and Steed is nice. We don't get a good look at Mr. Peel, but the episode ends on the gag that he bears some resemblance to Steed, sporting a bowler and umbrella.
That was absolutely ingenious, and really sheds a new light on things, and in a good way. The farewell between Peel and Steed is sweet, and having the character drive off into the sunset with her presumed-dead husband, for whom Steed had been only a surrogate, was a wonderful happy ending for her (these days, they would kill off the character in as grisly a manner as possible). And the story structure of having the old and new characters play out separate arcs and then have them pass on the stairs to briefly (and fondly) discuss the mainstay was wonderful. This really has to be one of the greatest passing-of-the-torch episodes ever.

THE END
of
EMMA PEEL
but Diana Rigg will be back
ON HER MAJESTY'S SECRET SERVICE
Now if this had just been superimposed over Diana Rigg's butt. :rommie:

This is a very sign o' the times episode revolving around "weekend hippies" hanging out at the pad of a groovy cat named Freddie (Cliff Osmond), who refers to Ironside as "Ol' Fuzz-on-Wheels".
I like it. :rommie:

During Ed and Eve's initial foray into Freddie's Pad, they briefly break into the show's theme.
Meta.

She rebelled out of an expressed need for her parents to care enough about her to enforce some discipline. In the episode's coda, when Ironside relates how she's returned to her parents, he surmises that she's gotten her first spanking. Kind of an odd beat to play with a 15-year-old character being portrayed by a 21-year-old actress.
Probably got into a kinky bondage scene when she grew up.

Once it's all straightened out, Kennedy takes advantage of her pre-conditioned attraction to him to start hitting on her...I think that wouldn't go well for him today.
Neither would John Steed have any part of that kind of thing.

Tarzan happens upon the titular character and her entourage of six other pretty young women. This is sort of a pseudo-hippie episode...the young ladies aren't hippie types per se, but much emphasis is placed on them being representatives of the general youth culture of the time. Trina uses the word "groovy" a lot, mentions not trusting anyone over 30, and has a conversation with Tarzan about picking up vibes.
Somebody should put together a DVD megapack of all the best 60s Hippie episodes.

After Uncle Ben falls victim to poetic justice, Trina stays around to continue the good work that he'd previously been known for.
This sounds like a top-tier Tarzan episode.

Contrary to popular conception, the Moscow-Washington hotline originally used a teletype device, and has never used a telephone.
It's not a glowing red table phone under a bell jar? :(

Byner's character is name Gorshen; in addition to playing the Riddler, Frank Gorshin was a well-known impressionist at the time.
He was, and that's a really nice touch. I wonder if they wanted him for the part.

Putting Max in charge of CONTROL is certainly a good plan on KAOS's part; OTOH, they have to deal with a more competent than usual field agent infiltrating their operation.
Was there any explanation for the Chief having a letter instead of a number? Were there only 26 agents back in his day or something? :rommie:

"The Inner Light," The Beatles
I feel at one with the universe now. This definitely has that exotic, trippy sound of the times.

"Call Me Lightning," The Who
Interesting. Kind of like, "What if The Who were around in the 50s."

"The Unknown Soldier," The Doors
I've never cared much for The Doors (he said, looking over his shoulder), but this is a nice anti-war song with a pretty strong video.

"Master Jack," Four Jacks and a Jill
I've never heard this before, I don't think. I really like it.

"Tighten Up," Archie Bell & The Drells
Well. They have a new dance. And music for it. And it made the Rolling Stone list. Okay.
 
Not so much a rule, but in the early decades of film and TV, it was kind of an unwritten tradition that it was disrespectful to the office to depict the President, even a fictional one, on camera. That's why so many older movies and shows just portray the POTUS as a voice on a phone (heard or unheard) or a figure seen only from the rear. Standards have changed a great deal since then.
I remember comics in my own day being a bit inconsistent on the issue. Examples that pop into my head...a 1979 issue of The Incredible Hulk had a full-on appearance by Jimmy Carter on the splash page, surveying the site of a Hulk rampage...but maybe a year and a half or so down the road, the same artist, Sal Buscema, visually obscured the identity of his successor, even while giving him a bit of business (offering General Ross a jelly bean) that clearly established to the audience of the time that he was supposed to be Reagan. Likewise, an issue of the X-Men during the Dark Phoenix storyline had an unambiguously depicted President Carter calling the Avengers, but in the epilogue of the Days of Future Past two-parter (#142), the identity of the president who authorized Project Wideawake was obscured. Now the issue would have been drawn before Byrne knew the outcome of the 1980 election, but given when the issue came out (between the election and inauguration), as well as an on-panel caption specifying that the scene took place in December, it should have been a cinch that the president was still Carter either way. But in this case I'd say there was a good dramatic reason for obscuring the president's identity...in the event of the Reagan victory that history gave us, it wouldn't have been as compelling to have a lame-duck president declaring war on mutants only to dump the program in the lap of his successor.

One of my strongest TV memories from the 60s is the old brick-in-the-pocketbook trick. :rommie:
That was good.

They figured the best way to go was to not try to duplicate Mrs Peel. Undoubtedly a wise idea.
I was thinking the same thing.

Now if this had just been superimposed over Diana Rigg's butt. :rommie:
I dinnae think th' thread coul' handle it!

This sounds like a top-tier Tarzan episode.
Not really. The girls were a lot more interesting than the ambiguously bad uncle, so I wish they'd given the girls a McGuffin that allowed the story to focus more on them and their adventures with Tarzan, and hadn't wasted so much time on the uncle's vague, humdrum plot.

Was there any explanation for the Chief having a letter instead of a number? Were there only 26 agents back in his day or something? :rommie:
That was sort of implied. He said that he was an agent in the days before they switched to numbers.

I feel at one with the universe now. This definitely has that exotic, trippy sound of the times.
I've always found this to be the most grating of George's Indian music contributions. It might make a list of my least favorite Beatles songs, depending on how short the list was.

Interesting. Kind of like, "What if The Who were around in the 50s."
Sounds like you weren't any more familiar with this than I was when I got it.

I've never cared much for The Doors (he said, looking over his shoulder), but this is a nice anti-war song with a pretty strong video.
And as Doors mythology has it, the video was banned...which does seem likely, but I couldn't find any definitive references specifying the circumstances. This was the advance single of their third album, Waiting for the Sun, which came out in July 1968.

I've never heard this before, I don't think. I really like it.
It's rather enigmatic. A bit of Googling indicates that it may have been about apartheid. (The band was from South Africa.) In any case, these guys and a gal were strictly one-now-obscure-hit wonders...their next biggest charter barely made the Hot 100.

Well. They have a new dance. And music for it. And it made the Rolling Stone list. Okay.
And it was a #1 on the Hot 100 and Soul chart in the day. I take it you're not impressed. I have to admit, when I first heard this one on the radio, it annoyed me a bit because it sounded like a warm-up for a song that never started. I came to enjoy it, but putting it in chronological context, it seems like perhaps of a bit of a knock-off of "Dance to the Music."
 
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51st Anniversary Viewing

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Selections from Billboard's Hot 100 for 51 years ago this week:
1. "Happy Together," The Turtles
2. "Dedicated to the One I Love," The Mamas & The Papas
3. "Penny Lane," The Beatles
4. "There's a Kind of Hush," Herman's Hermits
5. "Baby I Need Your Lovin'," Johnny Rivers
6. "Sock It to Me, Baby!," Mitch Ryder & The Detroit Wheels
7. "For What It's Worth (Stop, Hey What's That Sound)," Buffalo Springfield

9. "Love Is Here and Now You're Gone," The Supremes
10. "Ruby Tuesday," The Rolling Stones
11. "Strawberry Fields Forever," The Beatles
12. "Then You Can Tell Me Goodbye," The Casinos
13. "I Think We're Alone Now," Tommy James & The Shondells
14. "The 59th Street Bridge Song (Feelin' Groovy)," Harpers Bizarre
15. "The Return of the Red Baron," The Royal Guardsmen
16. "California Nights," Lesley Gore
17. "I've Been Lonely Too Long," The Young Rascals
18. "Bernadette," Four Tops
19. "This Is My Song," Petula Clark
20. "I Never Loved a Man (The Way I Love You)," Aretha Franklin
21. "Darling Be Home Soon," The Lovin' Spoonful
22. "Ups and Downs," Paul Revere & The Raiders
23. "Niki Hoeky," P.J. Proby
24. "Jimmy Mack," Martha & The Vandellas
25. "Let's Fall in Love," Peaches & Herb
26. "The Hunter Gets Captured by the Game," The Marvelettes
27. "The Love I Saw in You Was Just a Mirage," Smokey Robinson & The Miracles
28. "Western Union," The Five Americans
29. "Somethin' Stupid," Frank & Nancy Sinatra
30. "Beggin'," The Four Seasons
31. "Dry Your Eyes," Brenda & The Tabulations
32. "A Little Bit Me, a Little Bit You," The Monkees
33. "Gimme Some Lovin'," The Spencer Davis Group
34. "Kind of a Drag," The Buckinghams

36. "Sit Down, I Think I Love You," The Mojo Men
37. "With This Ring," The Platters

40. "Epistle to Dippy," Donovan
41. "It Takes Two," Marvin Gaye & Kim Weston
42. "The Beat Goes On," Sonny & Cher

45. "Sweet Soul Music," Arthur Conley

58. "At the Zoo," Simon & Garfunkel
59. "Don't You Care," The Buckinghams

63. "Gonna Give Her All the Love I've Got," Jimmy Ruffin
64. "On a Carousel," The Hollies
65. "The Girl I Knew Somewhere," The Monkees

71. "I'm a Man," The Spencer Davis Group

72. "I'll Try Anything," Dusty Springfield

84. "Friday on My Mind," The Easybeats

86. "Close Your Eyes," Peaches & Herb

89. "Dead End Street Monologue/Dead End Street," Lou Rawls



Leaving the chart:
  • "Everybody Needs Somebody to Love," Wilson Pickett
  • "Georgy Girl," The Seekers
  • "Go Where You Wanna Go," The 5th Dimension
  • "I'm a Believer," The Monkees
  • "Mercy, Mercy, Mercy," Cannonball Adderley
  • "You Got to Me," Neil Diamond

Show-related new chart entry, making its debut at an impressive #32:

"A Little Bit Me, a Little Bit You"
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(#2 US; #3 UK)

_______

The Monkees
"Monkee Mother"
Originally aired March 20, 1967
Wiki said:
Middle-aged widow Millie (Rose Marie) moves in with the Monkees as a new tenant, resulting in the boys' trying to find her a husband.

Note: This was only one of two episodes featured entirely at the Monkees' house, the other being "A Coffin Too Frequent" from the second season.

I found it hard to get a handle on the situaiton in this episode, as the boys actually developed a bond with Millie but still wanted to get rid of her. This included each of them sharing an emotionally intimate moment with her, which seemed uncharacteristic of the show's style.

"Sometime in the Morning"
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I swear I've heard the line "Your eyes are like cupcakes, floating in a sea of sour cream" somewhere before. It's possible that it was from a prior viewing of this episode, but that would have been a long time ago.

"Look Out (Here Comes Tomorrow)"
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_______

The Rat Patrol
"Take Me to Your Leader Raid"
Originally aired March 20, 1967
H&I said:
As part of a plan to kill a high-ranking Allied general, a German poses as an American major to fool the Rat Patrol into leading Dietrich's unit to the location of division headquarters.

Playing the part of Fake Major Lansing is Soap's Richard Mulligan. A captured Italian officer sniffs him out and has to be silenced.

There's lots of spottily executed mixing of desert set and outdoor shooting in this one.

The episode is coy about naming or clearly showing the Allied general, so I assume he's supposed to be one of the real ones...Patton?

Dietrich is in this episode, but he didn't get much to do.

_______

TGs1e28.jpg
"This Little Piggy Had a Ball"
Originally aired March 23, 1967
Wiki said:
While bowling with Donald just before she has to accept an award for another actress, Ann reads about another bowler who bowled with his toes, and makes the mistake of trying to do it herself.

This premise revolves around Ann having a bit part in a play.

They do a bit of location shooting of Ann getting into a cab with the ball stuck on her foot...I have to wonder if they actually bothered to do that in NYC...it wasn't such a distinct location that it might not have been an L.A. street doubling as NY.

This episode is the last appearance of Dabney Coleman as Season 1 neighbor Dr. Leon Bessemer, but Judy Bessemer is scheduled to appear in the next episode.

Marlo does some good "high" acting when Ann takes too many muscle relaxant pills.

Missing Carroll O'Connor by only four episodes:

TGmisc13.jpg
And Teri Garr, too!

In the scene capped from above, we hear what sounds like a version of the Bossa Nova classic "Summer Samba (So Nice)," which I'd just stumbled upon in my detailed chart exploration of the era and find strangely entrancing:

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(Walter Wanderley version charted Aug. 27, 1966; #26 US; #3 AC)

The ball embarrassingly comes off while Ann's on stage accepting the reward.

"Oh, Donald" count: 7
"Oh, that girl" count: 1 (from Donald at the fade to the last commercial)

_______
 
The Avengers "The Forget-Me-Knot"
Originally aired March 20, 1968 (US); September 25, 1968 (UK)


I didn't see much of a Mother/Ironside connection beyond the wheelchair.

Agreed. There's no similarity between the two.

It's nice that Peel is in so much of the episode...they use her opening credits for the last time. I saw references in IMDb reviews to this episode not having been shot as her last, but the show's Wiki page says that it was actually filmed a few episodes into the season, and that they got Rigg back especially to do it.

Tara makes a cute debut...she's a spunky agent-in-training and all of that. A common complaint that I read in reviews is that she's much more deferential to Steed than his previous partners were.

Well, Tara was the "junior" compared to the experienced Steed. Moreover, the showrunner's point was to give Tara her own vibe and personality, to avoid cloning Peel.

The bit of business about Peel's long-lost husband turning up comes out of nowhere in the epilogue. The parting scene between Peel and Steed is nice. We don't get a good look at Mr. Peel, but the episode ends on the gag that he bears some resemblance to Steed, sporting a bowler and umbrella.

To put a more forgiving spin on it, it's understandable that she'd take a leave to spend time with her lost-and-thought-dead husband. Also, Avenging wasn't supposed to be Peel's full-time career.

Good point, and there's nothing "wrong" about a spouse making a change in life and/or leaving a job for the sake of(dedication to) a loving marriage. Its quite normal for those not placing something as fleeting as career (in the grand scheme of things) on the same level as an assumed, shared pledge of the heart and soul to another.

THE END
of
EMMA PEEL
but Diana Rigg will be back
ON HER MAJESTY'S SECRET SERVICE

Well played! Not only due to Rigg going on to star in the Bond film, but the Avengers and Bond properties have so much "cross-pollination" of the era, themes and even supporting and/or guest actors, that your sign off covers much.

In Beatle news, Paul and then-girlfriend Jane Asher return from Rishikesh this week.

...and it would only be a couple months later that the relationship fell apart (it was already in the process of that) when Asher caught Paul in the sack with another woman.

"The Inner Light," The Beatles
(B-side of "Lady Madonna"; #96 US)

"Call Me Lightning," The Who
(#40 US)

Sort of tepid releases from both acts.

"Tighten Up," Archie Bell & The Drells
(#1 US the weeks of May 18 and 25; #1 R&B; #55 UK;

Part of the then ever-changing late 60s soul production.

"A Little Bit Me, a Little Bit You" (#2 US; #3 UK)

Best known as the song to finally break Don Kirshner--or get him fired from The Monkees (early in 1967) for surreptitiously releasing this unauthorized single in Canada, along with issuing the second LP--More of the Monkees--without the approval of the band.

The Monkees
"Monkee Mother" Originally aired March 20, 1967

I found it hard to get a handle on the situaiton in this episode, as the boys actually developed a bond with Millie but still wanted to get rid of her. This included each of them sharing an emotionally intimate moment with her, which seemed uncharacteristic of the show's style.

I think the story was clear: while the boys grew to love Millie, they also valued their independence, along with realizing she was lonely for romance in the years after her husband died.

"Sometime in the Morning"

Great vocals by Micky. As Jeff Barry once observed, Micky brought his acting ability to his vocals. That certainly gave him a great, unique range not shared by numerous 1960s rock vocalists including "vocal stylists" like Jagger or Lennon.

"Look Out (Here Comes Tomorrow)"

In the performance sequence, you can see Micky clearly drumming to the song.

William Bramley (Larry the moving man) had a number credits, but Trekkers would remember him as one of the empire's policemen in "Bread and Circuses" (the one referring to Spock as a barbarian).
 
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Well played! Not only due to Rigg going on to star in the Bond film, but the Avengers and Bond properties have so much "cross-pollination" of the era, themes and even supporting and/or guest actors, that your sign off covers much.
I was repurposing the phrasing of the "James Bond will return" blurb at the end of You Only Live Twice.

...and it would only be a couple months later that the relationship fell apart (it was already in the process of that) when Asher caught Paul in the sack with another woman.
I had to go looking up the details of that incident. So much Beatle lore has fallen out of my head over the years.

Sort of tepid releases from both acts.
To be fair to the Fabs, "The Inner Light" was only the separately charting B-side of "Lady Madonna," not intended as a single release itself.

I think the story was clear: while the boys grew to love Millie, they also valued their independence, along with realizing she was lonely for romance in the years after her husband died.
Maybe it was the Antenna cut, but it seemed like the story was missing an in-between beat there.
 
I've always found this to be the most grating of George's Indian music contributions. It might make a list of my least favorite Beatles songs, depending on how short the list was.
I've always like this one more than George's other Indian influenced songs.
This version by Jeff Lynn and Anoushka Shankar at for The Concert for George is pretty nice.
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I prefer "Love You To". "Within You Without You" is the polar opposite of "The Inner Light"...it can make me drowsy.
 
I prefer "Love You To". "Within You Without You" is the polar opposite of "The Inner Light"...it can make me drowsy.
Ever hear this?
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They did the entire album
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^^ Wow. That's... interesting. :rommie:

Not really. The girls were a lot more interesting than the ambiguously bad uncle, so I wish they'd given the girls a McGuffin that allowed the story to focus more on them and their adventures with Tarzan, and hadn't wasted so much time on the uncle's vague, humdrum plot.
Ah, well. Your description sounded good. :rommie:

I've always found this to be the most grating of George's Indian music contributions. It might make a list of my least favorite Beatles songs, depending on how short the list was.
Well, the volume on that one instrument could be turned down a bit, but otherwise I like it.

Sounds like you weren't any more familiar with this than I was when I got it.
No, not very familiar. I'm sure I must have heard it at some point, but it's not ringing any bells.

And as Doors mythology has it, the video was banned...which does seem likely, but I couldn't find any definitive references specifying the circumstances.
I can certainly see it not meeting S&P for TV, but I wonder what they mean by banned.

It's rather enigmatic. A bit of Googling indicates that it may have been about apartheid. (The band was from South Africa.) In any case, these guys and a gal were strictly one-now-obscure-hit wonders...their next biggest charter barely made the Hot 100.
I was assuming it was directed at a father or father figure (like a Fagin or cult leader), but I have no idea. I found the mixture of gratitude and skepticism, kindness and intellectual curiosity, to be intriguing (unless it was meant to be sarcastic). It's in my MP3 folder now, so thanks for turning me on to a cool new song.

I have to admit, when I first heard this one on the radio, it annoyed me a bit because it sounded like a warm-up for a song that never started.
That's a good way to describe it.

"A Little Bit Me, a Little Bit You"
This is a good one. It was written by Neil Diamond and it's interesting how it sounds like the Monkees, but you can also hear Neil in there, especially in the opening bars. Yes, I like Neil Diamond.

I found it hard to get a handle on the situaiton in this episode, as the boys actually developed a bond with Millie but still wanted to get rid of her.
Well, that's a typical relationship with one's mother. :rommie:

"Sometime in the Morning"
Pleasant enough. It's nice to see Rose Marie.

"Look Out (Here Comes Tomorrow)"
This is good. More Monkee-ish.

Playing the part of Fake Major Lansing is Soap's Richard Mulligan.
Wow, ten year's earlier. It must be weird to see him in a young, dramatic role. He was freakin' hilarious in Soap.

They do a bit of location shooting of Ann getting into a cab with the ball stuck on her foot...
This is something that's definitely missing from contemporary entertainment: Girls getting their toes stuck in things.

In the scene capped from above, we hear what sounds like a version of the Bossa Nova classic "Summer Samba (So Nice)," which I'd just stumbled upon in my detailed chart exploration of the era and find strangely entrancing:
Oh, yeah, I remember that. It really has that 60s Summer sound.
 
I like the beat poetry approach to "Within You Without You".

It's in my MP3 folder now, so thanks for turning me on to a cool new song.
:techman:

That's a good way to describe it.
And in case you saw that "Pt. 1" and flipped over the 45 to see if the song got started there...well, it sounds like they picked up the tempo a bit:
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This is a good one. It was written by Neil Diamond and it's interesting how it sounds like the Monkees, but you can also hear Neil in there, especially in the opening bars.
Definitely. "You got a little bit to me, cherry baby...."

_______

Selections from Billboard's Hot 100 for 55 years ago this week:
1. "He's So Fine," The Chiffons
2. "Our Day Will Come," Ruby & The Romantics
3. "The End of the World," Skeeter Davis
4. "South Street," The Orlons
5. "You're the Reason I'm Living," Bobby Darin
6. "Rhythm of the Rain," The Cascades
7. "In Dreams," Roy Orbison
8. "Baby Workout," Jackie Wilson

11. "Walk Like a Man," The Four Seasons

13. "One Broken Heart for Sale," Elvis Presley
14. "I Wanna Be Around," Tony Bennett
15. "Laughing Boy," Mary Wells

17. "Do the Bird," Dee Dee Sharp

19. "Puff (The Magic Dragon)," Peter, Paul & Mary
20. "Don't Set Me Free," Ray Charles
21. "Let's Limbo Some More," Chubby Checker
22. "Ruby Baby," Dion
23. "Twenty Miles," Chubby Checker
24. "Wild Weekend," The Rebels

27. "Don't Say Nothin' Bad (About My Baby)," The Cookies
28. "Mr. Bass Man," Johnny Cymbal

31. "Let's Turkey Trot," Little Eva
32. "Alice In Wonderland," Neil Sedaka

39. "Sandy," Dion
40. "Mama Didn't Lie," Jan Bradley
41. "Greenback Dollar," The Kingston Trio
42. "Boss Guitar," Duane Eddy & The Rebelettes

44. "Pipeline," The Chantays

47. "Linda," Jan & Dean
48. "Walk Right In," The Rooftop Singers
49. "I Got What I Wanted," Brook Benton

51. "The Gypsy Cried," Lou Christie

56. "On Broadway," The Drifters

58. "Hitch Hike," Marvin Gaye

60. "Watermelon Man," Mongo Santamaria Band

62. "I Will Follow Him," Little Peggy March
63. "Surfin' U.S.A.," The Beach Boys

74. "Foolish Little Girl," The Shirelles

82. "Killer Joe," The Rocky Fellers
83. "Tom Cat," The Rooftop Singers
84. "If You Wanna Be Happy," Jimmy Soul

94. "The Bird's the Word," The Rivingtons

99. "Two Faces Have I," Lou Christie



Leaving the chart:
  • "Call on Me," Bobby Bland
  • "Little Town Flirt," Del Shannon
  • "Send Me Some Lovin'," Sam Cooke
  • "You've Really Got a Hold on Me," The Miracles

On the March 24, 1963, episode of The Ed Sullivan Show, Chubby Checker demonstrates that despite his pseudonym, he's still limber enough to do more than sing about the Limbo:

ESCC01.jpg ESCC02.jpg ESCC03.jpg

How low can you go?
 
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So...anyone have an opinion about Barbarella? I've got it set to record in a couple weeks, though it won't be coming up for 50th anniversary viewing until the Fall.
Barbarella is . . . well, it is what it is. Very much of its time with its psychedelic visuals and camp humor. Some of the sets and effects look rather cheesy even by contemporary standards. If nothing else, Jane Fonda is gorgeous.

From what I know of the French comic strip it was based on, a truly faithful film adaptation would essentially be a series of sexual encounters occasionally interrupted by plot.

I've never cared much for The Doors (he said, looking over his shoulder), but this is a nice anti-war song with a pretty strong video.
I've always thought The Doors were one of the more overrated rock bands of the '60s, and that Jim Morrison was a mediocre talent at best.
 
I like the beat poetry approach to "Within You Without You".
The Wiki page makes it sound interesting. I may have to listen to the whole album.

And in case you saw that "Pt. 1" and flipped over the 45 to see if the song got started there...well, it sounds like they picked up the tempo a bit:
Maybe they should have tightened it up before recording it. :rommie:

On the March 24, 1963, episode of The Ed Sullivan Show, Chubby Checker demonstrates that despite his pseudonym, he's still limber enough to do more than sing about the Limbo:
I think I saw that one.

I've always thought The Doors were one of the more overrated rock bands of the '60s, and that Jim Morrison was a mediocre talent at best.
Well, I don't think they deserve to be on a level with bands like the Beatles or the Stones.
 
Barbarella is . . . well, it is what it is. Very much of its time with its psychedelic visuals and camp humor. Some of the sets and effects look rather cheesy even by contemporary standards. If nothing else, Jane Fonda is gorgeous.

Not even vintage Jane Fonda could make me sit through another viewing this crap.

I've always thought The Doors were one of the more overrated rock bands of the '60s, and that Jim Morrison was a mediocre talent at best.

Wow. Pretty big statement. I'm sure you would have a ton of Baby Boomers who worshipped the Doors (more Morrison than the group) trying to torch your house for saying that.

Maybe they should have tightened it up before recording it. :rommie:


Well, I don't think they deserve to be on a level with bands like the Beatles or the Stones.

Most serious-minded music historians (in other words, anyone not working for Rolling Stone) don't place the Doors on the same level. Although they had numerous, memorable hits with a body of work nowhere near the level of the named acts, it cannot be argued that the work produced immediately after Morriosn's death dropped off the commercial scale to the degree that it was no stretch say their better days were behind them.
 
I've always thought The Doors were one of the more overrated rock bands of the '60s, and that Jim Morrison was a mediocre talent at best.

Yeah, their first album was terrific and they were strong as a band, but the more they became the The Poet Lizard King Show the less interesting I find them. I always get a kick out of the third verse of "Roadhouse Blues," though, "...fonk konk konk a donka..."
 
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