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"The Subject Was Rabies"
Originally aired February 20, 1969
Wiki said:
A stray dog that follow Ann home decides to bite her visiting father.
Ann suddenly has a new agent, Harry Fields (Jules Munshin), even though she's been dropping references to Seymour as recently as the previous episode. His angle in the episode is that the whole rabies mock-crisis is threatening to keep Ann from making an important audition.
After Mr. Marie gets bit, Donald gets to be the bearer of bad news when he makes a comment about how it could have been worse, the dog could have been rabid...which gets Lew all wound up on the subject. Ann calls her doctor (Stuart Margolin) for a house call, and he doesn't think anything of the bite either, until Mr. Marie gets him going on the subject of rabies...then he calls the Health Department, seeming very interested in the potential publicity. The inspector who responds to the call is played by TOS guest Ed Peck.
By the time Mr. Marie's ready to back out, motivated by learning that he'll need to have a shot, the whole incident has become too big to stop...but he's saved when a boy comes by with the dog, which belongs to him and has had its shots.
Playing a photographer from Donald's magazine:
I can't help wondering if he's secretly on the trail of our old friend Harry Banner....
"Oh, Donald" count:
1
"Oh, Daddy" count:
1
"Oh, Doggy" count: One missed opportunity
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"The Defiant One"
Originally aired February 27, 1969
Wiki said:
While shopping, Ann becomes sympathetic to an eight-year-old black boy who tries to steal a candy bar.
The setup for the title shot is young David Johnson (George Spell) claiming to the storekeeper that Ann is his mother. Afterward Ann asserts that she's too young...I don't know how much younger Ann was meant to be, but Marlo was easily old enough to be the mother of an eight-year-old at the time.
Ann assumes that David was stealing the candy bar because he's poor, even though he's pretty well-dressed. He tells her up-front that he lives on Park Avenue and she assumes he's fibbing. Then he tells her what she wants to hear, spinning a story of living in a tenement with thirteen siblings and being beaten by his father.
David said:
They don't call him Joseph X for nothing, you know.
Ann takes the boy out for the day, which includes getting odd looks from fellow passengers on a bus. Back at Ann's apartment, he secretly calls his father to tell them that he's been kidnapped and gives him Ann's name and address. Meanwhile, Donald walks into the situation, and Ann gets paranoid about the intentions of the police after she tries calling them.
Ann: Donald, I told you, they want to put David in Juvenile Hall!
Donald: Honey, only as a last resort.
Ann: Donald, that is no resort, it's practically a prison!
David's father comes over, and it turns out he's a famous comedian named J.J. Johnson (future Battlestar XO Terry Carter), who understands what's really going on, as David has pulled this sort of thing before.
In the coda, Ann admits to Donald that she probably wouldn't have bought into David's story so easily if he hadn't been black.
"Oh, Donald" count:
1; plus one as part of a longer sentence in which she introduces Donald to David, which passes the Johnny Thunder test.
"Oh, David" count:
2
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"Fly Me to the Moon"
Originally aired March 6, 1969
Wiki said:
The United States Air Force hires Ann to recruit women to the WAF's for potential space travel.
"She may be the one who helps us put the first woman on the Moon." Well, how's that project been going?
Guesting Robert Colbert, formerly of
The Time Tunnel, as Ann's Boss of the Week, Major Brian James. For her job interview, he
Flies her in a two-seat jet to New Orleans for lunch. There's a conflict angle with Ann being in the middle of a project to have Donald's apartment redecorated, which her new job is taking her away from, as it involves Major James flying her all over the continent. At one point Donald calls her in their jet via an Air Force radio relay; at another, he's patched in to her while she's in a centrifuge.
Despite all the attention he's giving her, the major is generally abrupt and unfriendly to Ann. Donald thinks it's a ploy, and Ann's disappointed when that proves not to be the case, but proceeds to tell Donald a lurid story of how he came on to her.
"Oh, Donald" count:
6 (though one was more of an "Oh! Donald...")
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I loved pretty much all of Ringo's solo performances. Boys (my fav of his vocal perfs), Wanna Be Your Man, Honey Don't, Everybody's Trying to Be My Baby, Matchbox, Little Help From My Friends (his best song), all great.
Kind of a random choice....
....with a random B-side.
Well, Carl Perkins was a huge influence on the Beatles, and Larry Williams was a favorite of John's in particular...John wound up doing three covers of his songs as Beatles releases. "Matchbox" and "Slow Down" are the other songs from the
A Hard Day's Night sessions (along with "Long Tall Sally," another cover, and the original "I Call Your Name") that were released in the UK on the
Long Tall Sally EP, and thus are found in the digital age on the
Past Masters collection. These two were originally released in the states on the most recent Capitol album 55 years ago,
Something New.
And hey, it got Ringo the A-side of a single.
RJDiogenes said:
Another classic. Kind of straightforward, but it doesn't really need to be anything else and it sounds nice.
I know they were speaking for their audience, but it's weird to hear guys in their 20s singing in falsetto voices about growing up to be a man. It sounds alright, but compared to their more stone-cold classics, this one's a "miss" for me.
Decent cover. It's a song that's hard to damage.
It's definitely got a good sound, especially Jerry's voice.
gblews said:
Always loved this melodramatic little song.
RJDiogenes said:
Another cheerful song about people dying in a car accident. And, yep, it sounds like the 50s.
In other words, another "splatter platter"! Not sure I'd describe it as "cheerful," but I'll agree in this case about it having a '50s vibe.
Another major British Invasion installment. To show my true age, it always reminds me of
Stripes, which was my first exposure to the song.
Tony Curtis and Roger Moore fighting crime. The mind boggles.
From what I glanced at on that Wiki, it sounds like they were fighting each other behind the scenes. I recall on one of his Bond DVD commentaries Sir Roger going on a tangent about an American actor he worked with whom he had words with for being rude to women. I'm guessing that might have been Curtis.
I liked in
Avengers 147-148 when the Supreme version swore by any ol' nobel gas:
