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The Classic/Retro Pop Culture Thread

when Vance tells the assembled crowd that Elsie used to be a saloon girl, the scandalized locals, including the Sheriff, disperse.
Elsie may have been wise to settle somewhere other than a "god-fearing town."

As examples of the aforementioned theme of guest characters who mirror Jason's situation, here we have Elsie being haunted by her reputation from a past chapter of her life, and the Sheriff's issues with being perceived as a coward.
And both unjustly. It's a great idea for a show. Not many TV shows have had such a directed theme.

the girls paired up romantically with other castaways...Ginger with the Professor and Mary Ann with Gilligan.
I can see Mary Ann with either the Professor or Gilligan, but I can't see Ginger with anybody. :rommie:

This time the Professor describes the island's position as approximately 110 degrees longitude and 10 degrees latitude. So they flipped the longitude and latitude to something possible, but the longitude is now 30 degrees different from the 140 degrees that had been previously cited for the latitude. That would put the island much further east...closer to Mexico than Hawaii.
I'm convinced that Gilligan's Island was part of the inspiration for Lost.

That reminds me of something that either Ringo or George said in the Anthology documentary--that amidst all the madness that surrounded the Beatles, at least the four of them had each other; whereas only Elvis knew what it was like to be Elvis.
That's interesting, because I've always thought that a nice idea for an alternate history story would be a world where Elvis's twin brother survived.

Definitely a classic, and recently adapted for a commercial selling arthritis medication.
This is what we've come to. :(

I'm not a religious person, but this radio classic has an enjoyably groovy, uplifting vibe; and also brings something sign-o-the-timesy, as from this and other indicators, it seems that the "Jesus freak" thing was coming in around this time.
I don't mind the nice kind of religion and I can certainly appreciate the desire to believe in an afterlife, even if I can't bring myself to buy into it.
 
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50th Anniversary Viewing (Part 1)

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The Ed Sullivan Show
Season 22, episode 21
Originally aired February 15, 1970
As represented in The Best of the Ed Sullivan Show

Ed said:
The amazing, fire-eating Santani Demon.
Looking a little like Dr. Strange with his dark, trim facial hair and ornate cape, but bare-chested, Santani's main trick in the brief performance is lighting a wheel of torches with some spark-shooting fireworks mixed in and twirling it around via its hub pole with his mouth. Here's a clip of the performance with different music--likely the original music, as I've noticed that Best of performances always use the same few music clips. Santani going over to talk to Ed wasn't shown on Best of.

Also in the original episode according to tv.com:
Music:
--The "New" Supremes - "Up the Ladder to the Roof" & a show tune medley. (Supremes with Cindy Birdsong, Jean Terrel & Mary Wilson ... without Diana Ross)
--Joe Frazier (wearing tuxedo, in a boxing ring set) - sings "Knock on Wood."
--Caterina Valente - "Never Will I Marry" & "Anything Goes."
--Michael Parks - "Mountain High" & "My Melancholy Baby."
--The Ed Sullivan Singers - "Mame."
Comedy:
--Robert Klein (stand-up routine)
--Arte Johnson (stand-up routine)
Also appearing:
--Hawthorn Tigers (animal act)
--Audience bows: Molly Pecan, Sam Levine, and Ernie Terrel.

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Mission: Impossible
"Terror"
Originally aired February 15, 1970
Wiki said:
Jim and his team must infiltrate a prison to block the release of a ruthless terrorist who is about to be pardoned.

The clear eight-track tape in the glove compartment of a station wagon on the side of the road said:
Good morning, Mr. Phelps. The Middle East's most ruthless terrorist, Ismet El Kebir [Michael Tolan], who has been sentenced to die for mass murder, is about to be pardoned and released. A proclamation by his secret supporter, Ahmed Vassier [David Opatoshu], the propaganda minister of Suroq, will declare that El Kebir committed his crimes only out of concern for his people. El Kebir's release would signal a terrorist uprising that could engulf the whole region in war.

Your mission, Jim, should you decide to accept it, is to see that El Kebir is never released. As usual, should you or any of your IM Force be caught or killed, the Secretary will disavow any knowledge of your actions. This tape will self-destruct in five seconds. Good luck, Jim.

No portfolio scene, no guest agents, straight to the briefing.

The mission commences with Uniformed Willy having fake Jeep trouble, which serves as a distraction for Barney to get into an army truck carrying explosives. He uses a smoke bomb to make it look like the back of the truck is on fire, causing the men in front to abandon it, and drives off. The men hitch a ride with Paris, posing as a military intelligence major who has actually been secretly captured, and Jim, posing as a captain under Paris who's formerly of British Intelligence. Fez-sporting Barney walks into a cafe where "El Kebir's woman", Atheda (Arlene Martel), works, and offers to sell her the dynamite. With a large goon, Jenab (Ronald Feinberg), backing her up, she threatens to kill Barney if he doesn't tell her where it is.

With the help of an order from Phone General Willy, Major Marak (Joe DeSantis) at the prison gives Paris permission to question El Kebir in his cell. Vassier visits the major's office and asserts that Jim isn't Captain Lewis because he and Major Sulti are supposed to be on a mission across the border. Paris and Jim claim to have completed that mission and report that El Kebir plans to escape before the pardon. This ruffles Vassier's feathers and causes Vassier to go to El Kabir's cell and plead for his cooperation and support.

Disguised as Vassier, Paris visits the cafe, where Barney is now unconscious. He tells Atheda that he can't stop El Kebir from being hung, then shows them a way to break into El Kebir's cell, which will require explosives, so Atheda is ready to deal with Barney. There's some act break tension when Atheda insists that Barney should continue making his nitro from the dynamite during a thunderstorm despite his concerns about static electricity, and the lights briefly go out.

Meanwhile, Jim arranges with Marak to be placed in a cell next to El Kebir to get info from him, his fake British accent becoming thicker for this role within his role. While chatting up his neighbor, Jim passes notes about a listening device, which El Kebir finds and disables. Then Jim talks openly about how Major Sulti plans to have El Kebir shot. Fake Sulti then pays El Kabir a short but ominous visit.

Barney and Willy accompany a couple of Atheda's crew as they make their way to the prison wall through an ancient and forgotten aqueduct...so Barney's crawling around in a dark, confined space, but has some company for a change. While the crew gets to work, Atheda pays a visit to El Kebir in his cell to share the plan. She tells him that Jim is working for Vassier, based on information she was given somewhere back-episode.

Fake Sulti is warning Marak of an anticipated attempt to blow El Kebir out of his cell when Vassier storms into the office demanding that El Kebir be released. He seems concerned that El Kebir will blow his plans, but Fake Sulti tells him about Fake Captain Lewis having been planted in the cell block and advises waiting to find out what he's learned.

Atheda joins the demolition crew in the tunnel, and they blow through as Marak is retrieving El Kebir from his cell. Fakes Sulti and Lewis determine that the escape crew have collapsed the tunnel behind them, and drive out with Marak and his men to intercept them on the other end. Leaving the tunnel, the escape crew find themselves surrounded. El Kebir goes back into the tunnel to retrieve some leftover nitro, and from shouting distance threatens to throw the nitro and confronts Vassier with his fake knowledge that Vassier was planning to kill him. Fake Sulti taunts him into throwing the bottle, and nothing happens, as it was fake nitro planted earlier. Mark's men open fire on El Kebir, then round up the rest. Fakes Sulti and Lewis take Barney and Willy into custody for interrogation and drive off with them. Mission: Accomplished.

This was one of those episodes where I wasn't quite following all of the nuances of who was being told what for what reason.

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Rowan & Martin's Laugh-In
Season 3, episode 22
Originally aired February 16, 1970
The Wiki list of guest appearances said:
Dan Blocker, Johnny Brown, Perry Como, Tom Smothers, Flip Wilson

An opening Joke Wall with Dan Blocker:
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There's another Joke Wall at the end of the episode.

The Weird, Weird World in Which We Live:
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Part 2.

Tyrone's continuing quest to propose to Gladys...
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...and after some intervention by Dan and Dick, she accepts!
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The Fickle Finger of Fate goes to a wildlife preserve.

The news song is Marx Brothers-themed. They're mixing News of the Future up a bit, as the first item is only 5 years ahead, and the next 16.

The First Feast of the Founding Farkels:
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Next week: Ringo!

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Elsie may have been wise to settle somewhere other than a "god-fearing town."
I imagine that she voted against the banner but was overruled.

And both unjustly. It's a great idea for a show. Not many TV shows have had such a directed theme.
We'll see if it holds, but it looks promising so far. Makes it all the odder that the first-aired episode was the most generic Western one thus far.

I can see Mary Ann with either the Professor or Gilligan, but I can't see Ginger with anybody. :rommie:
Ginger seems happy to spend quality time with any of the guys when it suits her purposes, though she seems to draw a line at Mr. Howell at least. Don't think I've seen her put the moves on the Skipper either.

That's interesting, because I've always thought that a nice idea for an alternate history story would be a world where Elvis's twin brother survived.
Hmm...we either get The Presley Twins, or one pop culture icon and one guy saying, "Hey, what am I, chopped liver?"

This is what we've come to. :(
It is quite the dichotomy, seeing a generation that was so defined by their youth going into retirement age. In general, Boomers have aged well, I'll give them that.

I don't mind the nice kind of religion and I can certainly appreciate the desire to believe in an afterlife, even if I can't bring myself to buy into it.
I just can't figure you out in this area. I've seen worse reactions to songs with much milder religious imagery...often so subtle that I hadn't even noticed it. This one is full-on, in-your-face revival meeting stuff.
 
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50th Anniversary Viewing (Part 2)

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TGs4e21.jpg
"The Night They Raided Daddy's"
Originally aired February 19, 1970
Wiki said:
Ann's father hires a musical group to increase business at his restaurant. He doesn't know that the group performs nude.

When Ann and Donald visit the Marie home in Brewster, Ann is concerned to find Mr. Marie at home at 7 in the evening playing solitaire. When she presses him, he seems frustrated with the restaurant business. Ann and Donald then visit the restaurant and find that business has been down for months, while a competitor has been doing extremely well. They then go to that restaurant and find that it's because Tony's has hired a hip pop/rock band...at least by That Girl standards. The band and their psychedelic lighting look groovy, but the music is actually pretty loungey. Nevertheless, they serve as a stark contrast to the clarinet and accordion duo that's been playing at Lew's place. Ann cites a group called The Electric Yo-Yos as an example of the type of band Lew's restaurant needs. They take Lew to Tony's to see the band, which convinces him.

Lew goes to an agent to audition a group, but he's concerned that first group are so scruffy that they'd be an issue with the Board of Health. He then watches a cleaner-looking group with respectable-looking matching costumes called The Blue Boys and decides to hire them. We learn right after he leaves that they do their finale totally naked.

For the first night that the band plays, the restaurant is crowded and Lew's sporting a Nehru jacket (looking less hip than Bond villain). The Sheriff and a reverend and his family are among the diners that evening. When the band does their finale (off camera, of course), it shocks the crowd as Lew and Ann look on from behind a curtain. They return home and fret until Lew checks back with the guy he's got running the restaurant (Bill Quinn) and learn that the place is even more packed than before. Donald gets a member of the group on the phone and talks him into doing something shockingly different from other groups by putting more clothes on at the end.

In the coda, Lew sincerely thanks Donald and, when Donald's not in earshot, admits to Ann that he likes him--He's just becoming a big ol' softy now!

"Oh, Donald" count: 2
"Oh, Daddy" count: 4

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Ironside
"Ransom"
Originally aired February 19, 1970
Wiki said:
A banker is unwilling to help the police capture the man who kidnapped his wife and Eve.

When we meet the banker, Eric Saginor (John Saxon), and his wife, Susan (Carla Borelli), we see obvious tension between them, and learn that he's hungry for a promotion. The abduction of Susan takes place outside of a restaurant where he's dining with Eve. Eve pulls her gun on one of the hippie-type kidnappers, but his unseen partner gets the drop on her. The ladies are taken to hippies' shabby lair, where a female accomplice waits for them.

Ironside deduces that the kidnappers may be actors based on an ear-witness having heard one of them use the phrase "break a leg". He also learns that Eric was being passed over for promotion specifically because of an "unstable personal life". Eric is put forth as a suspect early on, and seems a little too obvious in his general unlikability. Eric doesn't want police involvement, and persuades his better-reputed bank pal, Paul Friedland (Fritz Weaver), to borrow the money on his behalf. Eric makes the drop at a taco stand, but during the kidnapper doing the pickup, Chris Courtland (Michael Walker), gets into an accident on his bike while trying to hightail out, after which Eric retrieves the package. We see from a one-sided phone conversation that Courtland's partner, Pucci (Art Metrano), is answering to somebody else. The team finds that Courtland is an actor, with a previous narcotics arrest in Boston.

The investigation of Eric also turns up that he was in a great deal of debt, with a suspicious pattern of professional shortages in the books coinciding with personal deposits, which were being invested in a piece of land. The Chief narrows in on Paul, who was responsible for Eric's promotion evaluation and is involved in the theater. Paul is surprised to learn that Eric sold the land.

We learn during her captivity that it's Eve birthday. At one point the ladies make a break for it when Eve uses a fire extinguisher on Pucci, but their female accomplice, Nola (Miki McDonald), cuts off their escape by driving up in a minibus and brandishing a gun. At another point, Pucci sarcastically refers to Eve as Margo Lane.

The team tails Eric to a meeting with the kidnappers at their layer, at one point stopping so he can lure in and knock out a detective who's helping them. Eric arrives at Shabby Hippie Manor with the money and pulls a gun on Pucci, but he and Eve find themselves surrounded by...Paul and Susan. Paul plans to kill Eric and Eve, which makes Susan protest. Ed bursts in to the rescue, and the place goes up in flames from gasoline that was going to be used in the murder.

In the coda Ironside explains that Friedland was helping mismanage Eric's money, and Eve's birthday is celebrated with some couple's anniversary cake, which was the only one available on short notice.

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Get Smart
"And Only Two Ninety-Nine"
Originally aired February 20, 1970
Wiki said:
Max comes home from work one evening to find 99 in bed, with a black eye. She's actually an impostor — the real 99 (who gave her the black eye) was kidnapped by KAOS but had escaped, and was now with the Chief — but the Chief orders Max to pretend that he's taken in by the deception while 99 and the Chief try to find out what KAOS is up to.

I don't think I'd noticed when scenes had previously taken place in their bedroom, but Max and 99 have got the twin beds thing going on. It's a little sad that The Brady Bunch is more cutting edge. Anyway, when Max gets home, Fake 99 (66?) has just called off a visit from 99's mother. As she's going to sleep, the Chief calls to tell Max that 99 is with him. After the opening credits, the real 99 tells the Chief how she was temporarily abducted and replaced.
99 said:
And then she told me that she'd take perfect care of my husband, and that's when I hit her.
Yeah, who knows, the impostor might wanna trade in for a queen-sized. Anyway, the Chief wants 99 to go back to where she was being held in order to not tip off her captors. When she makes a call to the Chief via fingernail phone from what looks like a king-sized bed in her cell, 99 says that she wished she had a set-up like that at home. Her captor, Melnick Archer (H.M. Wynant), informs her that the plan is to have the impostor murder her husband and frame her for doing it. We learn that the impostor is doing this by cumulatively poisoning Max's meals.

Max questions if the 99 who went to the Chief is actually the impostor, though he has noticed changes in her habits. And now Larabee is offering to have his wife take care of the twins--where was she the other week when Larabee and the Chief had to do it? The Chief notices the ill effects of the poison on Max, but doesn't figure out what's going on despite Max telling him that the impostor insists that Max eat at home for every meal.

When 99 learns what the plan is, she lures her guard into her cell, chops him out, and calls the Chief. When 99 gets to Smart apartment ahead of the Chief, it falls to the barely conscious Max to determine which is his wife. He initially points to Larabee, but then realizes that the impostor would still have a black eye under her makeup. In the closing beat, Larabee wolfs down a helping of the impostor's poisoned pie.

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The Brady Bunch
"The Hero"
Originally aired February 20, 1970
Wiki said:
Peter learns a lesson in heroism and humility after being written up as "Hero of the Month" in the local newspaper for saving a young girl's life during an accident at Driscoll's Toy Shop. Peter is so enamored with his heroics that throws himself a congratulatory party. He is humbled when no one shows up.

Guest stars: Dani Nolan as Mrs. Spencer, Melanie Baker as Tina Spencer, Dave Morick as Earl Hopkins, Randy Lane as Steve, Susan Joyce as Jennifer, Iler Rasmussen as Jason, Joe Conley as the delivery courier

Yes, Peter's finally getting his episode, and it's a pretty meaty one. He starts with an action/adventure beat, when a loose wall shelf threatens to fall on the girl as she's climbing up to reach a doll and he lunges in to save her--He's the Indiana Jones of the toy store set! His ego is gradually boosted by the fuss and attention that he receives...the girls coming in to compliment him; the boys apologizing for not believing him; Alice making him a special dessert; making the front page of the paper. Then the conceit sets in, as he starts keeping a scrapbook; posing in the mirror; thinking that he's too big to do his chores; and telling exaggerated stories about what happened. It doesn't take long for his siblings to turn against him.

When Mrs. Spencer offers to buy him anything he wants from the toy store, it quickly turns into everything he wants. As the delivery man arrives at the Brady home with the many boxes of goods and brings in a punching ball...
Alice said:
Ohhh...so Peter finally got tired of using Bobby!
The parents insist that Peter can only keep one gift, and warn him of the fickleness of fame. But then the newspaper gives him a plague and a $50 check, and he decides to spend the check on throwing his party. The kids he tries to invite by phone all come up with excuses for missing it, and he walks in on the older siblings objecting to the parents. When nobody shows for the party, Mike spins it as a teachable moment. Once Peter has been satisfactorily humbled, the family and the Spencers throw him a surprise party.

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Hogan's Heroes
"Standing Room Only"
Originally aired February 20, 1970
Wiki said:
With fifteen escapees awaiting transfer and a Luftwaffe major threatening to expose Klink’s theft of camp funds, Hogan has his hands full dealing with trouble.

Klink is trying to entertain a ladyfriend, Sofia (Victoria Carroll), when the tower guards shoot at a prisoner attempting to escape. Hogan bribes Schultz into saying that the prisoner was just airing his blanket. Then we learn that the tunnel is crowded with escapees from another Stalag, too many for the underground to handle at once.

Burkhalter assigns the other stalag's kommandant, Major Strauss (Noam Pitlik), to work under Klink to learn from Stalag 13's example of being reputedly escape proof. The jealous major uses the opportunity to search for skeletons in Klink's closet. To this end, he studies Klink's books, and learns from Schultz of Klink's ladyfriend and (continuity alert) his recent hosting of Fake Göring.

Hogan's plan to get the extra prisoners out through the area's heavier guard coverage is to smuggle them out openly disguised as soldiers, but arranges for seven of them to come back and surrender at the gate as part of a deal with Klink, only to be subsequently taken into custody by a prisoner disguised as a German captain (Forrest Compton). Hogan suggests that the untrusting Strauss accompany the captain, and then hints to Klink that he likely won't be hearing from the major again. When Klink asks why Hogan helped him, Hogan is open in his assessment that with Klink in charge at Stalag 13, the Allies have a better chance of winning the war.

In the coda, Hogan takes advantage of a distraction to get in some time with Sofia in Klink's living area.

Didn't notice a DIS-missed in this one.

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55th Anniversary Viewing

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Branded
"The Rules of the Game"
Originally aired February 14, 1965


When Jason rides into McKinley--a town with a banner over the main street advertising it as a "God-fearing town" with 5 churches--he and the old friend, Elsie Baron (Jeanne Cooper), see each other at a distance, but Jason doesn't approach. Charlie Vance (Brad Weston) then barges into her dress shop, talking about how she left him and took his money. Some customers bring over the Sheriff (Russ Conway), but when Vance tells the assembled crowd that Elsie used to be a saloon girl, the scandalized locals, including the Sheriff, disperse. That's when Jason steps in and sends Vance away. We learn that in a previous encounter, Elsie had summoned help for Jason when his hand was trapped under a wagon outside of Carson City.

A drunken Vance starts shooting his gun in the saloon and is confronted by the Sheriff again, but the Sheriff won't draw on Vance because of his reputation as a fast gun...even with Vance taunting him by putting one hand on the bar behind him and pouring himself a drink with the other. The locals make noise about the Sheriff's cowardice, but Jason stands up for him, and the Sheriff swears in Jason as a deputy to help him handle Vance. When Jason says his full name for the oath, the Sheriff and the Mayor (Harry Bartell) react in the expected manner. Then a local runs in and tells the Sheriff that Vance has killed a shopkeeper.

Jason and the Sheriff split up to find Vance, and an unseen party shoots Vance in the back. Jason is found inspecting the body with a fired gun in his hand, which he tells an assembled crowd had been used for a warning shot. The Mayor tells the crowd who Jason is, turning them against him. Elsie then comes on the scene and tearfully warns the townspeople that Vance's brothers, Ben and Cody, will be coming to avenge Charlie's death.

The brothers (Cal Bartlett and Bob Hoy) come to town and start harassing the citizens, so the Mayor offers to bring them the man who allegedly shot Charlie, who's now in a cell. When the Mayor leaves the Sheriff's office, Jason confronts the Sheriff with his deduction that it was the Sheriff who shot Vance in the back. Jason expresses understanding for the situation, and the Sheriff goes outside to confess. Before he can, Jason comes out and taunts the brothers about how Charlie had been running scared when he was shot. Then gets in some more broken saber action, tossing it into the rope that one of the brothers had been stringing up as a noose, causing him to take a fall; followed by quickly flesh-wounding both of them with his gun. Jason persuades the brothers to admit that he's too good with his gun to have needed to shoot Vance in the back, then chastises the townsfolk for not having had the courage to step in and help subdue Vance before he'd killed. The Sheriff's role in the killing remains unrevealed, and a won-over young local retrieves Jason's saber and tosses it back to him as he starts to ride out.

As examples of the aforementioned theme of guest characters who mirror Jason's situation, here we have Elsie being haunted by her reputation from a past chapter of her life, and the Sheriff's issues with being perceived as a coward.

Good episode of a good (and uncommon for a Western) TV series; too bad this didn't go on for two more seasons, with a final episode in which Jason's exonerated.

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Gilligan's Island
"Big Man on Little Stick"
Originally aired February 20, 1965


Guesting former big-screen Tarzan, recent Wagon Train regular, and future two-time Incredible Hulk guest Denny Miller, billed here as Denny Scott Miller.

Gilligan is fishing in the lagoon (tossing back a fish that he catches every day using a sea shell) when Duke comes zooming up to shore on his surfboard as if it had a motor. He says he was riding a wave that started near Honolulu...the Professor is rightly incredulous because of the distance. A tsunami is determined to have been responsible.

When the girls see Duke, they become starry-eyed. Sign-o-the-times comment...

(Not a typo.)

Gilligan gets self-conscious and starts working out with coconut-shell dumbbells. Duke tries to coach him using a bamboo barbell with boulders, but the result is what you'd expect. Meanwhile, the Howells briefly take Duke for actual nobility and try to woo him. At one point, Mr. Howell refers to Duke as "Mister Miracle".

The Professor determines that another tsunami wave toward Hawaii is imminent, so they have to get Duke into shape to ride again in 48 hours...but he's more interested in spending time with the girls. For their part, the girls start to become disenchanted by the persistence of his advances. Mrs. Howell earns her pay for the week by coming up with a plan to disenchant Duke by setting things up so he'll see the girls paired up romantically with other castaways...Ginger with the Professor and Mary Ann with Gilligan.

They get Duke to his surfboard on time, but by that point he seems disgruntled with the entire island. He catches his wave, and in the coda the castaways learn via radio that he made it to Hawaii but hit his head on a rock, developing amnesia.

This time the Professor describes the island's position as approximately 110 degrees longitude and 10 degrees latitude. So they flipped the longitude and latitude to something possible, but the longitude is now 30 degrees different from the 140 degrees that had been previously cited for the latitude. That would put the island much further east...closer to Mexico than Hawaii.

Typically crappy episode of a crappy series, the popularity of which (to this day) eludes me now as an adult (why did I like it as a kid, you might ask? Because as a kid, I'd watch everything put in front of me. These days, I'm more discerning.)

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That reminds me of something that either Ringo or George said in the Anthology documentary--that amidst all the madness that surrounded the Beatles, at least the four of them had each other; whereas only Elvis knew what it was like to be Elvis.

Elvis got his career messed up by his army stint, IMHO, as Lennon & McCartney said, and then by having an entourage who wouldn't say no to him, especially concerning drugs.

Definitely a classic, and recently adapted for a commercial selling arthritis medication.

Some critics say that that's the best thing to happen to Three Dog Night.


Good early solo John. I'll note that on compilation albums, the song is typically titled "Instant Karma!" (punctuation, no subtitle), and credited to John Lennon (no Ono).

As it should be; the actual talented person in that relationship was John, not her.


I'm not a religious person, but this radio classic has an enjoyably groovy, uplifting vibe; and also brings something sign-o-the-timesy, as from this and other indicators, it seems that the "Jesus freak" thing was coming in around this time.

Crappy song only made popular again in recent years due to it being included in the trailer of a popular movie (and which I've never included in my iTunes playlist because I didn't rip it into the computer from my copy of the soundtrack to said movie. All of the other songs on it are good, however.)
 
Looking a little like Dr. Strange with his dark, trim facial hair and ornate cape, but bare-chested, Santani's main trick in the brief performance is lighting a wheel of torches with some spark-shooting fireworks mixed in and twirling it around via its hub pole with his mouth.
I like Ed checking to make sure his teeth are okay. :rommie:

I've noticed that Best of performances always use the same few music clips.
I noticed that, too, and it started to make me twitch. Now I'm thinking it has to do with rights issues.

Also in the original episode according to tv.com:
The Ed Sullivan Singers? A bunch of girls with no necks?

Nice.

...so Barney's crawling around in a dark, confined space, but has some company for a change.
"So tell me, Willy, do you like gladiator movies?"

This was one of those episodes where I wasn't quite following all of the nuances of who was being told what for what reason.
Yes. One of those. :rommie:

Next week: Ringo!
The one and only!

I imagine that she voted against the banner but was overruled.
I have a feeling no one dared vote against the banner. :rommie:

We'll see if it holds, but it looks promising so far. Makes it all the odder that the first-aired episode was the most generic Western one thus far.
Might have needed that to sell it, although you'd think Chuck Connors would be enough.

Ginger seems happy to spend quality time with any of the guys when it suits her purposes, though she seems to draw a line at Mr. Howell at least. Don't think I've seen her put the moves on the Skipper either.
Actually, you'd think that if she went anywhere it would be right to the top.

Hmm...we either get The Presley Twins, or one pop culture icon and one guy saying, "Hey, what am I, chopped liver?"
But which one? :rommie: Actually I was thinking more along the lines of the Presley Brothers, with their mutual support protecting them from the excesses that doomed Elvis. Unfortunately, I don't know enough about Elvis or the context that created him to write such a story.

It is quite the dichotomy, seeing a generation that was so defined by their youth going into retirement age. In general, Boomers have aged well, I'll give them that.
I always laugh when I hear, "Hope I die before I get old." :rommie:

I just can't figure you out in this area. I've seen worse reactions to songs with much milder religious imagery...often so subtle that I hadn't even noticed it. This one is full-on, in-your-face revival meeting stuff.
It's a case by case thing. This one is just a nice song about resting in peace in an idyllic afterlife. Which ones did I have a bad reaction to? I can't think of them at the moment. I love Superstar for the story and great lyrics. I kind of like "Brother Love," even though I was never sure if it was a parody or not. I can't think of anything else at this early hour.

Donald gets a member of the group on the phone and talks him into doing something shockingly different from other groups by putting more clothes on at the end.
Cop out!

In the coda, Lew sincerely thanks Donald and, when Donald's not in earshot, admits to Ann that he likes him--He's just becoming a big ol' softy now!
Then he takes the secret elevator at the back of his restaurant down to his hidden underground lair and hands Donald's picture and address to Herve Villechaize.

We learn during her captivity that it's Eve birthday.
It's an Eve solo adventure. Kind of.

At another point, Pucci sarcastically refers to Eve as Margo Lane.
That's weird. How many people watching Ironside would get that reference?

Eve's birthday is celebrated with some couple's anniversary cake, which was the only one available on short notice.
If I was Eve, I'd ask for a better solo adventure.

I don't think I'd noticed when scenes had previously taken place in their bedroom, but Max and 99 have got the twin beds thing going on.
Well, Max is kind of clumsy.

Fake 99 (66?)
-99?

When she makes a call to the Chief via fingernail phone from what looks like a king-sized bed in her cell, 99 says that she wished she had a set-up like that at home.
Maybe the producers weren't happy with the twin beds either. :rommie:

In the closing beat, Larabee wolfs down a helping of the impostor's poisoned pie.
RIP.

The parents insist that Peter can only keep one gift, and warn him of the fickleness of fame.
Not to mention the Finger of Fate.

When nobody shows for the party, Mike spins it as a teachable moment.
"Just tell everyone that more people showed up for your party than ever showed up for any party in history!"

Once Peter has been satisfactorily humbled, the family and the Spencers throw him a surprise party.
And the cycle begins anew.

When Klink asks why Hogan helped him, Hogan is open in his assessment that with Klink in charge at Stalag 13, the Allies have a better chance of winning the war.
It's too bad they never did a Hogan's Heroes reunion movie. I'd love to see a meeting between Hogan and Klink after the war.
 
50th Anniversary Album Spotlight

Live/Dead
Grateful Dead
Released November 10, 1969
Chart debut: January 3, 1970
Chart peak: #64, February 21, 1970
#244 on Rolling Stone's Greatest Albums of All Time
Wiki said:
Live/Dead is the first official live album released by the rock band Grateful Dead. Recorded over a series of concerts in early 1969 and released later the same year, it was the first live rock album to use 16-track recording.


Side one consists entirely of a 23-minute version of "Dark Star," recorded Feb. 27, 1969, at the Fillmore West:
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Wiki said:
"Dark Star" was an early Grateful Dead classic and became one of their most loved and anticipated numbers, often with the group using it as a vehicle for musical improvisation sessions that extended well beyond the original structure of the song. The song is included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list and was ranked at number 57 on Rolling Stone's 100 Greatest Guitar Songs of All Time. "Dark Star" was often the basis for jamming during the Dead's live shows, allowing the band to employ techniques typical of improvisational jazz.
The first verse and chorus kick in at over 6 minutes in; the second verse comes in 14 minutes later, followed by the chorus, to close the song. Overall, this one has a groovy psychedelic vibe, but it's mood music to me, not something that grabs my attention.

As I'd read, digital versions of the album segue the songs directly into one another across what used to be the album sides. The first of two songs on side two is the 6-1/2-minute "St. Stephen"--a song that had originally appeared on their 1969 studio album Aoxomoxoa--from the same show as above.
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This one starts as a straightforward rocker with more emphasis on words and phrases; its gentle bridge section changes the tone, but it then returns to the more rocky stile. The last minute of the track shifts into what's called the "William Tell Bridge," which was designed to segue into the next song, "The Eleven"...a 9-minute track that was recorded Jan. 26, 1969, at the Avalon Ballroom:
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This one's a groovy, harder rocker with a long instrumental intro. The lyrics don't kick in until nearly six minutes in, and are relatively brief, leaving the last two minutes of the track instrumental.

Side three also consists only of one track, a 15-minute jam of the R&B song "Turn On Your Love Light" (originally recorded by Bobby Bland in 1961), from the same date as the previous track.
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This one seems more ordinary than the other performances on the album, not having any psychedelic vibe to speak of; but the band seem to be enjoying themselves.

The final side opens with the 10-1/2-minute "Death Don't Have No Mercy," a song written by blues singer Reverend Gary Davis, as performed by the Dead on March 2, 1969, at the Fillmore West:
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I find this one to be on the groovier, more mellow and immersive side than the previous track. It's followed by the nearly 8-minute "Feedback" from the same date, which is exactly what the title sounds like--an improvised instrumental jam using audio feedback, accompanied by distorted guitar and weird organ effects. The album ends with "And We Bid You Goodnight," a half-minute closing hymn from the same show as the previous two tracks.

Wiki said:
The album was released to extremely positive reviews from critics, with Robert Christgau writing that it "contains the finest rock improvisation ever recorded" and AllMusic noting that "Few recordings have ever represented the essence of an artist in performance as faithfully as Live/Dead".
Drummer Bill Kreutzmann comments "It was our first live release and it remains one of our best-loved albums. Its appeal was that it took great 'you-had-to-be-there' live versions of songs like 'Dark Star' and 'The Eleven' and put them right in people’s living rooms."

This was worth checking out to try to hear what some of the fuss was about regarding the Dead's live shows, but given what a busy album year it's going to be between my two retro periods, I don't see myself putting this one on much in the foreseeable future.

_______

Good episode of a good (and uncommon for a Western) TV series;
Ah, we have a Branded fan, do we?

too bad this didn't go on for two more seasons, with a final episode in which Jason's exonerated.
SPOILER ALERT! :p

Typically crappy episode of a crappy series, the popularity of which (to this day) eludes me now as an adult (why did I like it as a kid, you might ask? Because as a kid, I'd watch everything put in front of me. These days, I'm more discerning.)
I was more into it as a kid than I am now, but it seemed like a good inclusion to represent the zany sitcoms with fantastic premises that were common in this period.

Some critics say that that's the best thing to happen to Three Dog Night.
That sounds kinda harsh.

As it should be; the actual talented person in that relationship was John, not her.
His legal name was John Winston Ono Lennon at this point...he had the Ono added so that he'd be taking Yoko's surname instead of her just taking his. But he didn't come to use the Ono much professionally. In general, John's solo career releases are littered with different credits, including various band names.

The Ed Sullivan Singers? A bunch of girls with no necks?
:lol:

"So tell me, Willy, do you like gladiator movies?"
Nah, that'd have to be Jim asking! And you know, "Willy, have you ever been in a Turkish prison?" would have been a perfectly legitimate question in his IMF interview.

Might have needed that to sell it, although you'd think Chuck Connors would be enough.
Well, it turns out that this week's episode didn't have any strong thematic connection with Jason's situation, though you may spot something that I didn't when I post the write-up. There was a strong origin connection in the story, though.

Actually, you'd think that if she went anywhere it would be right to the top.
So...President Gilligan. I assume he's technically still in office.

Which ones did I have a bad reaction to?
I'd have to do some digging to find them. It was generally waving something away for being "too religious" or something to that effect.

Indeed. It was kind of cute the way that Ted Bessell played it, but still a rather lame resolution.

Then he takes the secret elevator at the back of his restaurant down to his hidden underground lair and hands Donald's picture and address to Herve Villechaize.
That works.

It's an Eve solo adventure. Kind of.
Not really...she was in an unusual position, but didn't get more of the overall spotlight than the rest of the team.

That's weird. How many people watching Ironside would get that reference?
A lot more than would get it today!

1.

Maybe the producers weren't happy with the twin beds either. :rommie:
Hmmm...maybe it was a jab, now that you bring it up.

"Just tell everyone that more people showed up for your party than ever showed up for any party in history!"
Kinda makes you think Nixon wasn't so bad, doesn't it?

It's too bad they never did a Hogan's Heroes reunion movie. I'd love to see a meeting between Hogan and Klink after the war.
Well, we have this.
 
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Grateful Dead
Like Led Zep, Grateful Dead are another classic band that I could never really get into, although not because anything in particular turned me off to them. There are a couple of songs here and there that I like okay. "Casey Jones" springs to mind. "Touch of Grey," of course.

I was more into it as a kid than I am now, but it seemed like a good inclusion to represent the zany sitcoms with fantastic premises that were common in this period.
There was a lot more creativity in the air in those days.

Nah, that'd have to be Jim asking! And you know, "Willy, have you ever been in a Turkish prison?" would have been a perfectly legitimate question in his IMF interview.
The Turkish prison would have been the better reference, had I remembered it.

Well, it turns out that this week's episode didn't have any strong thematic connection with Jason's situation, though you may spot something that I didn't when I post the write-up. There was a strong origin connection in the story, though.
I was thinking it would be hard to do. I guess it is. :rommie:

So...President Gilligan. I assume he's technically still in office.
True. President-for-Life.

I'd have to do some digging to find them. It was generally waving something away for being "too religious" or something to that effect.
The particular message or wording, I guess. I reserve the right to respond viscerally. :rommie:

That works.
Some of my That Girl genre-fications are better than others. :rommie:

Not really...she was in an unusual position, but didn't get more of the overall spotlight than the rest of the team.
That's what I mean. It seemed like it wanted to be an Eve spotlight-- kidnapping and birthday-- but it was a lame effort.

A lot more than would get it today!
Do you think so? The Shadow magazine had been gone for twenty years and I don't think he had been seen in pop culture since, aside from a small press paperback revival that only nerds would know about. I'm not sure about the radio show, actually. I'll have to look that up.

Kinda makes you think Nixon wasn't so bad, doesn't it?
Or Reagan, or just about anyone. :rommie:

Well, we have this.
Now there's a pair that deserve each other. :rommie:
 
50th Anniversary Cinematic Special

The Magic Christian
Directed by Joseph McGrath
Starring Peter Sellers and Ringo Starr
Released December 12, 1969 (UK); February 11, 1970 (US)
Wiki said:
The Magic Christian is a 1969 British satirical black comedy film directed by Joseph McGrath and starring Peter Sellers and Ringo Starr, with appearances by John Cleese, Graham Chapman, Raquel Welch, Spike Milligan, Christopher Lee, Richard Attenborough and Roman Polanski. It was loosely adapted from the 1959 comic novel of the same name by American author Terry Southern, who co-wrote the screenplay adaptation with McGrath.

Songs by Badfinger, including one written by Paul McCartney, were featured on the soundtrack. The official soundtrack album featured other music as well as dialog from the film; Badfinger released an album containing their songs for the film, Magic Christian Music.

The full movie is available on YouTube, but it has some naughty bits in it, so I haven't posted it here.

The opening song is part of Badfinger's "Come and Get It," with lyrics and singalong bouncing ball. Use of the song recurs throughout the film, usually underscoring Sir Guy Grand's (Sellers) schemes. The first use is followed immediately by "Carry On Till Tomorrow," a pretty good Badfinger number, during which we see the contrast between the lifestyles of Sir Guy and Youngman (Ringo)--one wealthy, the other sleeping in the park. This part of the film becomes the title sequence, in which Paul gets a prominent writing credit for "Come and Get It".

After some seen but not heard bonding with Youngman, Sir Guy adopts him. Sir Guy tries to introduce Youngman to the arts with a stage production of Hamlet...
Youngman Grand said:
I've seen it.
...in which the soliloquy becomes a male stripper act.
Sir Guy Grand said:
That fellow's taking license in my view.
I'd never have been clear on this from the film itself, but the Wiki plot description (which is a bit of a mess chronologically) asserts that the unconventional production of the play was Sir Guy's doing, as his M.O. is to use his wealth to orchestrate elaborate practical jokes.

We see more of this at work after Sir Guy introduces Youngman to his businesses, which seem to have been founded on a grocery store scam. He holds a board meeting of a newly acquired newspaper in a train car, during which he pitches an automobile design with a concept film animated in Yellow Submarine style. He then fires the board and drops them all off with instructions for retrieving the severance pay in far-flung corners of the world. Jeremy Lloyd from Laugh-In is one of the board members in this sequence.

Still on the train, there's a shared passenger compartment scene that evokes the one in A Hard Day's Night, but takes things in a different direction when it turns out to be a joke being played on a stuffy passenger involving trick doors to an adjoining compartment with a dance club in it. The music in the mobile club is Badfinger's "Rock of All Ages".

Various other episodic schemes ensue, including a hunting scene and Ringo inventing mad libs for pornographic books. Sometimes the commentary in Sir Guy's upsetting of straight-laced, proper society is more pointed than others, such as at a boxing match that opens with the opponents kissing in the ring...
The Announcer said:
The crowd seems to be sickened by the sight of no blood.


By this point, the film has basically just been a series of odd vignettes that don't add up to a story. The subject in the film's title, which is the name of a cruise ship whose launch is much anticipated by the social set, doesn't come up until over halfway through the film. Between that and the actual voyage, there's a Sotheby's sequence featuring Patrick Cargill (who played the Inspector in Help!) and John Cleese. In it, Sir Guy buys a Rembrandt and cuts out the face, to the horror of Cleese's Sotheby's director; then causes all sorts of random commotion on the auction floor, which the auctioneer (Cargill) has apparently been bribed to ignore.

The part of the film set on the Magic Christian comes in the last third. Its captain is played by Wilfrid Hyde White; a marching band version of "Come and Get It" is played during the boarding ceremony; and lookalikes of John and Yoko and Jackie and Ari are briefly seen as boarding passengers. As the voyage commences, hijinks ensue aboard the ship that appear to be more of Grand's work, including an apparent hijacking that passengers watch on closed-circuit TV from the bridge. Christopher Lee appears as a vampiric waiter and Yul Brynner plays a club singer in drag who serenades Roman Polanski. Eventually random chaos explodes throughout the vessel, and the passengers begin to abandon ship. During the chaos, we find that the engine room is overseen by Raquel Welch as the Mistress of the Whip, who commands a crew of topless slave girls manning oars.

As the passengers escape the ship, they discover that it's only a mock-up in a warehouse. The revelation is punctuated with what sounds like the famous chord from "A Day in the Life".

The movie's final scheme has the Grands giving away free money in a fetid vat of blood and urine, accompanied by Thunderclap Newman's "Something in the Air". A crowd of people who feel the need to cover their mouths and noses just approaching the vat nevertheless wade and dive in to retrieve the money.

In the end, the Grands lie down to sleep in the park. There's another bribe involved, so I don't get the impression that this is meant to convey that they've blown all of their money.

I checked this film out for the Ringo connection, of course. I went in not expecting much, and the film delivered on that. Ringo exhibits disappointingly little screen presence working next to Sellers, who carries what there is to enjoy about the film.

_______

Like Led Zep, Grateful Dead are another classic band that I could never really get into, although not because anything in particular turned me off to them.
For my part, I think I covered this when I previously reviewed one of their studio albums, but I think one thing that keeps me at arm's length from the Dead is the Deadhead culture. I don't feel like I could ever "get it" the way they do.

ETA: Another thing I may or may not have mentioned then...I'm sure this all plays better with acid. The Dead's music strikes me as the type of psychedelia that's meant to accentuate a high, rather than provide it.

I was thinking it would be hard to do. I guess it is. :rommie:
I imagine it will continue to be a recurring element, just not an every-episode one.

The particular message or wording, I guess. I reserve the right to respond viscerally. :rommie:
Here are examples I found via search of the word "religious" in your posts. They're not all the same, but there are similarities...

"I Say a Little Prayer," Dionne Warwick
This is pleasant and has some nostalgic value, but I didn't like it as a kid because I was turned off by anything that sounded religious.


"A Ray of Hope," The Rascals
Kind of religious, but very nice.


"In the Year 2525 (Exordium & Terminus)," Zager & Evans
It's actually odd that I like it, since it's both a condemnation of humanity and kind of religious.


"Amen," The Impressions
I actually do remember this. Kind of a religious tune.


"Amen" was a gimme; I didn't hear anything particularly religious in "A Ray of Hope"; and the use of religious imagery in "I Say Little Prayer" and "In the Year 2525" is fairly generic to me.


Some of my That Girl genre-fications are better than others. :rommie:
The Nehru jacket kinda wrote that one. :p Missed casting opportunity for Blofeld...?
TGmisc28.jpg

Do you think so? The Shadow magazine had been gone for twenty years and I don't think he had been seen in pop culture since, aside from a small press paperback revival that only nerds would know about. I'm not sure about the radio show, actually. I'll have to look that up.
The radio show was broadcast until 1954, easily within living memory for the adult audience in 1970. The actor who was delivering the line was 33 at the time. Keep in mind that the show's title character is a World War II vet...sometimes.

Now there's a pair that deserve each other. :rommie:
True!
 
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Ginger seems happy to spend quality time with any of the guys when it suits her purposes, though she seems to draw a line at Mr. Howell at least. Don't think I've seen her put the moves on the Skipper either.
Oh my dear lord no... so soo many times lol. I think she'd flirted with the Skipper just to cheer him up, because he was upset about having the curse of Lono. Then she must have done some to get Thurston to produce a play on the island (even though Lovey threw a wrench in that plan)

Then who can forget when the Howell's split up, & Ginger & The Professor hatched a scheme to get cozy with them, to make them jealous enough to get back together?

I think it must have been in her contract "Must sexualized herself to saxophone music, once per episode, for a male character... any male character, even a cannibalistic primitive"
 
Oh my dear lord no... so soo many times lol. I think she'd flirted with the Skipper just to cheer him up, because he was upset about having the curse of Lono. Then she must have done some to get Thurston to produce a play on the island (even though Lovey threw a wrench in that plan)
I've watched those two. Guess I should have been paying more attention, but I don't recall her putting the moves on Howell per se.

Then who can forget when the Howell's split up, & Ginger & The Professor hatched a scheme to get cozy with them, to make them jealous enough to get back together?
Looks like that one's coming late next season.
 
You become desensitized to it, it happens so often, you stop noticing lol. It's like one of her main go-to scenes in any given episode
 
I went in not expecting much, and the film delivered on that.
Except for the great cameos. :rommie: And it definitely sounds like a satire evocative of the times.

For my part, I think I covered this when I previously reviewed one of their studio albums, but I think one thing that keeps me at arm's length from the Dead is the Deadhead culture. I don't feel like I could ever "get it" the way they do.
That's part of it, although they're not as obnoxious as the Led Zep followers were.

ETA: Another thing I may or may not have mentioned then...I'm sure this all plays better with acid. The Dead's music strikes me as the type of psychedelia that's meant to accentuate a high, rather than provide it.
That's also part of it.

Here are examples I found via search of the word "religious" in your posts. They're not all the same, but there are similarities...
Well, I didn't say anything too bad. :rommie: But let me see if I can examine my feelings....

"I Say a Little Prayer," Dionne Warwick
Definitely a nostalgia factor here, because her voice takes me right back to the neighborhood in Dorchester. But the song also reminds me of how my Mother always made me go to church and CCD, which I hated, and which was why I was less tolerant of anything religious when I was very young.

"A Ray of Hope," The Rascals
Sort of the same theme as "Spirit in the Sky," just not as catchy. Not my bag, man, but they're being nice so that's fine.

"In the Year 2525 (Exordium & Terminus)," Zager & Evans
When you examine it, this is not a song that I should like. It's a litany of negativity and talks about god's return. But I guess because of the title it conjures up Sci-Fi imagery more than anything else, like the covers of Sci-Fi books I had at the time.

"Amen," The Impressions
Definitely a church song, but there's nothing bad in there.

"Amen" was a gimme; I didn't hear anything particularly religious in "A Ray of Hope"; and the use of religious imagery in "I Say Little Prayer" and "In the Year 2525" is fairly generic to me.
The refrain in "Ray of Hope" was something about a place called Heaven. The religious imagery in the others is mild, but notable ("2525" is more offensive in its hostility toward futurism). Personally, I don't believe in the supernatural and I see religion as one of the most destructive forces in human history, but there are good people who believe these things and use that belief to try to help others and improve the world, so why hold it against them? Live and let live.

The Nehru jacket kinda wrote that one. :p Missed casting opportunity for Blofeld...?
There's a perfect Bond villain and his assassin right there. Can you imagine Ann Marie in a life-and-death kung fu battle with Sean Connery? Would have been epic. :rommie:

The radio show was broadcast until 1954, easily within living memory for the adult audience in 1970. The actor who was delivering the line was 33 at the time. Keep in mind that the show's title character is a World War II vet...sometimes.
I suppose so. But would the audience have even remembered the Shadow's real name, let alone his friend and companion? I don't know.

You become desensitized to it, it happens so often, you stop noticing lol. It's like one of her main go-to scenes in any given episode
She definitely missed that Hollywood lifestyle. :rommie:
 
You become desensitized to it, it happens so often, you stop noticing lol. It's like one of her main go-to scenes in any given episode
Maybe I should have kept a Ginger seduction tally...

That's part of it, although they're not as obnoxious as the Led Zep followers were.
In my own youth experience, listening to Led Zep was so ubiquitous among friends and coworkers that I couldn't compare it to the gate-kept Deadhead culture. Led Zep fans were generally happy if you wanted to listen to some Zep and smoke some weed with them.

Had to look that one up.

For me, "saying a prayer" is about as generic as religious imagery gets. And if somebody tells me that I'm in their prayers or something like that, I take it as a compliment.

Sort of the same theme as "Spirit in the Sky," just not as catchy. Not my bag, man, but they're being nice so that's fine.
Didn't really jump out at me at all when it was on the playlist, but looking at the lyrics, the religious imagery is a little more obvious. Still, strikes me as fairly generic evocation...basically tossing in a few "Lord"s into an otherwise generally positive "we've gotta work to make the world a better place" message.

When you examine it, this is not a song that I should like. It's a litany of negativity and talks about god's return.
God's wrath, more specifically, which is also, I think, a fairly neutral usage...particularly as it seems purely symbolic even within the context of the song. The narrators are using it to emphasize how wayward humanity has gotten, but over 10,000 years, God never literally steps in and does anything about it.

Definitely a church song, but there's nothing bad in there.
And it sounds great.

Live and let live.
That's easy to say now, when you're young and your heart is an open book. But I predict that this ever-changing world in which we're living makes you give in and cry...say, in about three years.

Can you imagine Ann Marie in a life-and-death kung fu battle with Sean Connery?
I cannot. :p

I suppose so. But would the audience have even remembered the Shadow's real name, let alone his friend and companion? I don't know.
Says a guy who's hanging out in a thread about 50-to-55-year-old music, TV shows, and movies...

See also Gomer Pyle saying "Shazam!" when Captain Marvel comics had been out of publication since around the same time.

The Shadow radio series was broadcast for 17 years. I wouldn't underestimate its memorability to those who were old enough to have listened to it.
 
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Maybe I should have kept a Ginger seduction tally.
Where/how are you watching them? I use to poke through them now and again when Amazon Prime had them available through their IMDB sponsored queue, but they must have dropped it a while back :(

Which sucks, cuz this would've given me an excuse to scroll through them again lol. I'm almost sure that they found a reason for Ginger to engage seduction mode at least once per episode, with maybe some exceptions, depending on the plot, but to be fair, most of the times she was cozying up to someone, it's a guest actor, who could get them off the island.

One thing is certain. They definitely got their money's worth of mileage out of that bawdy saxophone theme that always played underneath those scenes :lol:
 
Where/how are you watching them?
DVRed from MeTV.

Which sucks, cuz this would've given me an excuse to scroll through them again lol. I'm almost sure that they found a reason for Ginger to engage seduction mode at least once per episode, with maybe some exceptions, depending on the plot, but to be fair, most of the times she was cozying up to someone, it's a guest actor, who could get them off the island.
From what I've stumbled upon when Googling odd items pertaining to the show, there seems to be an active GI fandom on the Internet, including a Wiki; I'll bet somebody out there has tallies of this sort of thing.
 
Maybe I should have kept a Ginger seduction tally...
Better wait for the next server upgrade.

In my own youth experience, listening to Led Zep was so ubiquitous among friends and coworkers that I couldn't compare it to the gate-kept Deadhead culture. Led Zep fans were generally happy if you wanted to listen to some Zep and smoke some weed with them.
They were kind of unpleasant druggies where I came from.

For me, "saying a prayer" is about as generic as religious imagery gets. And if somebody tells me that I'm in their prayers or something like that, I take it as a compliment.
Right, why be troubled if someone is just being nice. Unless they're praying for you to understand that immunizations are a tool of the devil or something. :rommie:

Didn't really jump out at me at all when it was on the playlist, but looking at the lyrics, the religious imagery is a little more obvious. Still, strikes me as fairly generic evocation...basically tossing in a few "Lord"s into an otherwise generally positive "we've gotta work to make the world a better place" message.
Yeah, pretty harmless.

God's wrath, more specifically, which is also, I think, a fairly neutral usage...particularly as it seems purely symbolic even within the context of the song. The narrators are using it to emphasize how wayward humanity has gotten, but over 10,000 years, God never literally steps in and does anything about it.
Overall, a rather negative view of humanity and the future. Not very Trek!

That's easy to say now, when you're young and your heart is an open book. But I predict that this ever-changing world in which we're living makes you give in and cry...say, in about three years.
Ah, time loop. This is why "Live and Let Die" is my favorite Bond theme.

I cannot. :p
:rommie:

Says a guy who's hanging out in a thread about 50-to-55-year-old music, TV shows, and movies...
Yeah, but we're weirdos. Not only do I know about the Shadow and his friends, I even have a couple of OTR homages up on YouTube. :rommie:

See also Gomer Pyle saying "Shazam!" when Captain Marvel comics had been out of publication since around the same time.
Yeah, but did anybody get the reference? Coincidentally, I remember telling my Uncle Joe about it when I was a teenager, because he always used to say "Shazam" with that Gomer twang.

The Shadow radio series was broadcast for 17 years. I wouldn't underestimate its memorability to those who were old enough to have listened to it.
True enough. There's older stuff now that's still widely recognized-- of course, I think the Internet has added to the durability of cultural memory.

From what I've stumbled upon when Googling odd items pertaining to the show, there seems to be an active GI fandom on the Internet, including a Wiki; I'll bet somebody out there has tallies of this sort of thing.
Oh, a Gillipedia. I bet there's a lot of interesting factinos there.
 
55 Years Ago This Week

Wiki said:
March 2
  • Vietnam War: Operation Rolling Thunder – The United States Air Force 2nd Air Division, United States Navy and South Vietnamese air force begin a 3½-year aerial bombardment campaign against North Vietnam.
  • The film of The Sound of Music premieres at the Rivoli Theater in New York City.
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Selections from Billboard's Hot 100 for the week:
1. "My Girl," The Temptations
2. "This Diamond Ring," Gary Lewis & The Playboys
3. "You've Lost That Lovin' Feelin'," The Righteous Brothers
4. "The Jolly Green Giant," The Kingsmen
5. "Eight Days a Week," The Beatles
6. "Tell Her No," The Zombies

8. "The Birds and the Bees," Jewel Akens
9. "Ferry Cross the Mersey," Gerry & The Pacemakers
10. "Downtown," Petula Clark
11. "The Boy from New York City," The Ad Libs
12. "Hurt So Bad," Little Anthony & The Imperials
13. "Stop! In the Name of Love," The Supremes
14. "I Go to Pieces," Peter & Gordon

16. "Goldfinger," Shirley Bassey
17. "Laugh, Laugh," The Beau Brummels
18. "The Name Game," Shirley Ellis
19. "Can't You Hear My Heartbeat," Herman's Hermits
20. "Twine Time," Alvin Cash & The Crawlers
21. "Shake," Sam Cooke
22. "Goodnight," Roy Orbison
23. "Little Things," Bobby Goldsboro
24. "Midnight Special," Johnny Rivers

26. "Come Home," The Dave Clark Five
27. "Ask the Lonely," Four Tops
28. "All Day and All of the Night," The Kinks
29. "Shotgun," Jr. Walker & The All Stars
30. "Yeh, Yeh," Georgie Fame & The Blue Flames
31. "A Change Is Gonna Come," Sam Cooke

33. "The 'In' Crowd," Dobie Gray
34. "Lemon Tree," Trini Lopez
35. "People Get Ready," The Impressions

37. "What Have They Done to the Rain," The Searchers
38. "Bye Bye Baby (Baby, Goodbye)," The Four Seasons
39. "Don't Let Me Be Misunderstood," The Animals
40. "For Lovin' Me," Peter, Paul & Mary

42. "If I Loved You," Chad & Jeremy
43. "Heart of Stone," The Rolling Stones

46. "Nowhere to Run," Martha & The Vandellas
47. "I Don't Want to Spoil the Party," The Beatles
48. "Stranger in Town," Del Shannon
49. "Do the Clam," Elvis Presley

57. "Do You Wanna Dance?," The Beach Boys

71. "Go Now!," The Moody Blues

74. "When I'm Gone," Brenda Holloway

77. 4 by the Beatles [EP], The Beatles
78. "Come and Stay with Me," Marianne Faithfull

91. "Got to Get You off My Mind," Solomon Burke

97. "Land of 1000 Dances," Cannibal & The Headhunters


Leaving the chart:
  • "Hold What You've Got," Joe Tex (11 weeks)
  • "Let's Lock the Door (and Throw Away the Key)," Jay & The Americans (10 weeks)
  • "Love Potion Number Nine," The Searchers (14 weeks)

Recent and new on the chart:

"Stranger in Town," Del Shannon
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(Feb. 27; #30 US; #40 UK)

"Come and Stay with Me," Marianne Faithfull
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(Feb. 27; #26 US; #4 UK)

"When I'm Gone," Brenda Holloway
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(#25 US; #12 R&B)

"Got to Get You off My Mind," Solomon Burke
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(#22 US; #1 R&B)


And new on the boob tube:
  • Branded, "Leap Upon Mountains..."
  • 12 O'Clock High, "The Trap"
  • Gilligan's Island, "How to Be a Hero"

_______

Now Ann as Lew Blofeld's femme fatale I could see...

Yeah, but did anybody get the reference?
I'd think so.

Oh, a Gillipedia.
Isn't that the Creature from the Black Lagoon Wiki?
 
27. "Ask the Lonely," Four Tops
One of my all time favorite Motown songs. Levi Stubbs, always on point vocally , hits it out of the park once again. I love lyrics that take emotions like love, hate, anger, etc, and create metaphors that treat those emotions like living entities. ‘Lonely’ doesn’t actually do this but does something similar by presenting lonely people as a distinct and identifiable group.

There is YouTube vid of Levi’s isolated vocal of this song and it is transcendentally beautiful.
When I'm Gone," Brenda Holloway
Another great song by this most underrated of Motown artists.
 
50 Years Ago This Week

Wiki said:
March 1 – Rhodesia severs its last tie with the United Kingdom, declaring itself a republic.
March 4 — All 57 men aboard the French submarine Eurydice (S644) are killed when the vessel explodes while making a practice dive in the Mediterranean Sea.
March 5 – The Nuclear Non-Proliferation Treaty goes into effect, after ratification by 56 nations.
Mark Lewisohn's The Beatles Day by Day said:
March 6 – First UK release of the 'Let It Be' single.
Wiki said:
March 6
  • A bomb being constructed by members of the Weathermen and meant to be planted at a military dance in New Jersey, explodes, killing three members of the organization.
  • Süleyman Demirel of AP forms the new government of Turkey (32nd government).
March 7 — A solar eclipse passes along the Atlantic coast region. Totality is visible across southern Mexico and across the southeast coast of the United States, Nantucket, and Nova Scotia. It was the 27th solar eclipse of Solar Saros 139.



Selections from Billboard's Hot 100 for the week:
1. "Bridge over Troubled Water," Simon & Garfunkel
2. "Travelin' Band" / "Who'll Stop the Rain", Creedence Clearwater Revival
3. "Thank You (Falettinme Be Mice Elf Agin)," Sly & The Family Stone
4. "Rainy Night in Georgia" / "Rubberneckin'", Brook Benton
5. "Hey There Lonely Girl," Eddie Holman
6. "Ma Belle Amie," The Tee Set
7. "The Rapper," The Jaggerz
8. "Give Me Just a Little More Time," Chairmen of the Board
9. "Raindrops Keep Fallin' on My Head," B.J. Thomas
10. "He Ain't Heavy, He's My Brother," The Hollies
11. "Psychedelic Shack," The Temptations
12. "No Time," The Guess Who
13. "Didn't I (Blow Your Mind This Time)," The Delfonics
14. "I Want You Back," The Jackson 5
15. "Evil Ways," Santana
16. "Arizona," Mark Lindsay
17. "The Thrill Is Gone," B.B. King
18. "Venus," Shocking Blue
19. "Walk a Mile in My Shoes," Joe South & The Believers
20. "Love Grows (Where My Rosemary Goes)," Edison Lighthouse
21. "House of the Rising Sun," Frijid Pink
22. "Call Me" / "Son of a Preacher Man", Aretha Franklin
23. "Oh Me Oh My (I'm a Fool for You Baby)," Lulu
24. "Kentucky Rain," Elvis Presley
25. "Honey Come Back," Glen Campbell
26. "Never Had a Dream Come True," Stevie Wonder
27. "Always Something There to Remind Me," R.B. Greaves
28. "Easy Come, Easy Go," Bobby Sherman
29. "Gotta Hold On to This Feeling," Jr. Walker & The All-Stars
30. "I'll Never Fall in Love Again," Dionne Warwick
31. "Do the Funky Chicken," Rufus Thomas
32. "Without Love (There Is Nothing)," Tom Jones
33. "Instant Karma (We All Shine On)," John Ono Lennon
34. "Celebrate," Three Dog Night

37. "The Bells," The Originals
38. "Come and Get It," Badfinger
39. "Spirit in the Sky," Norman Greenbaum

41. "All I Have to Do Is Dream," Bobbie Gentry & Glen Campbell

44. "Something's Burning," Kenny Rogers & The First Edition

50. "Shilo," Neil Diamond

56. "Oh Well, Pt. 1," Fleetwood Mac
57. "Up the Ladder to the Roof," The Supremes

62. "Rag Mama Rag," The Band

66. "One Tin Soldier," The Original Caste

68. "Baby Take Me in Your Arms," Jefferson

76. "Superstar," Murray Head w/ The Trinidad Singers

82. "Love or Let Me Be Lonely," The Friends of Distinction

89. "Add Some Music to Your Day," The Beach Boys


Leaving the chart:
  • "Blowing Away," The 5th Dimension (9 weeks)
  • "Walkin' in the Rain," Jay & The Americans (15 weeks)
  • "Whole Lotta Love," Led Zeppelin (15 weeks)

New on the chart:

"Add Some Music to Your Day," The Beach Boys
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(#64 US)

"Up the Ladder to the Roof," The Supremes
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(#10 US; #28 AC; #5 R&B; #6 UK)

"Love or Let Me Be Lonely," The Friends of Distinction
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(#6 US; #9 AC; #13 R&B)


And new on the boob tube:
  • Mission: Impossible, "Orpheus"
  • Rowan & Martin's Laugh-In, Season 3, episode 24
  • The Mod Squad, "A Time for Remembering"
  • That Girl, "Gone-a-Courtin'"
  • Ironside, "Warrior's Return"
  • The Brady Bunch, "To Move or Not to Move"
  • Hogan's Heroes, "The Sergeant's Analyst"
  • Adam-12, "Log 94: Vengeance"

_______

One of my all time favorite Motown songs.
It was an obscuro to me before I got it. Sounds nice, tho.

Del noir!
Sounds kinda like his other songs, but not as memorable. This will be Del's last Top 40 single until a 1981 cover of "Sea of Love".

RJDiogenes said:
This was nice.
It does have a good mid-'60s sound...and it was written by Jackie DeShannon.

gblews said:
Another great song by this most underrated of Motown artists.
RJDiogenes said:
It's an all-obscuros week...but this one has a nice sound.

RJDiogenes said:
Swingin.'
This one doesn't really grab me in any particular way.

I'm rubbing off on you. :rommie:
:lol:
 
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