Monday, December 12, 2011
Blazing Saddles (4CE reprint Nov. 2011)
Saturday, November 12, 2011
You Might Be...Part 4 (4CE reprint Oct 2011)
Wednesday, September 28, 2011
Not Everything is Relative But These Are... (4CE reprint sept 2011)
You Might Be Old School If...
Son of You Might Be a Baby Boomer...
You Might Be a Baby Boomer If...
Monday, September 5, 2011
out in left field (4CE reprint aug 2011)
Monday, August 15, 2011
ask cool daddy 3 (4CE reprint july 2011)
Ask Cool Daddy 3
I was told recently that the Davy Crockett coonskin cap I had as a kid wasn't real raccoon. Say it isn't so!
Sorry, but unless yours was handed down from your great great grandfather, it probably is so. The fashion was adopted by the early settlers from the Indians, and any furry animal unfortunate enough to be the size of a man's head would do, including skunks. Many famous historical figures sported one, including both Lewis & Clark, and when he ran for President in 1948, Tennessee Senator Estes Kefauver. But Davy Crockett wore one only on occasions when the public expected it, and Daniel Boone disliked them and never did.
When I was a kid, we were too poor to get them, so my brother and I took turns wearing the cat. Which wasn't so crazy, considering the early style was to leave the head on the front of the cap, like those fox stoles our mothers wore. In any event, during the 1950s, coonskin caps were made of rabbit fur, sometimes but not always with a real raccoon tail…the rest of the coon being used for other fashion purposes, such as coats and collars. There was even a white version for girls, named after Davy's wife Polly. Most Daniel Boone hats of the 1960s were entirely synthetic.
Back in the day, I remember a cereal called Sugar Chex, but nobody believes me. Cool Daddy to the rescue?
Indeed. For years, Ralston Purina, then General Mills who bought the line in 1997, experimented with presweetened versions of Chex cereal. It appears they've finally gotten it right, with the slightly sweet Honey Nut, Chocolate, and Cinnamon varieties (Strawberry Chex is no longer made.) But just as pet-food makers refuse to tell you that your dog or cat's favorite flavor is "fat," the human brain is hard-wired to prefer "sugar" as its flavor pick. And when RP's first attempt to expand the iconic Wheat-Rice-Corn Chex trio came in 1966, it was presweetened.
It was called Mr. Waffles…how's that for a typically goofy Sixties product name? But it was shaped like Chex, and came in 2 flavors, regular (i.e. "sugar") and banana. What you're probably remembering was the relaunch of the regular version as Sugar Frosted Chex several years later. The final push came in the early Seventies, as Sugar Chex, then Super Sugar Chex, featuring Casper the Friendly Ghost on the front. They gave up the ghost sometime after 1974. A slightly sweet Honey Graham Chex existed briefly in the late Eighties.
Frosted Rice Chex Juniors came and went quickly in the early Nineties, followed by Frosted Mini Chex a decade later. They retooled it by making the squares normal size as Frosted Chex around 2009, and that seems to be still available anecdotally, altho it's not listed on the official Chex website. And good breakfasting to you…
Is it true that Beatles manager Brian Epstein had an American group in his fold? I can't remember which, though.
But as I suspect you suspected, Cool Daddy can. It was the Cyrkle, the weird spelling suggested by none other than John Lennon. They were from Easton, PA, home of Crayola crayons. Epstein signed them on the suggestion of his American business partner, and they were an opening act on the Beatles 1966 American tour. Their 2 hits were "Red Rubber Ball," written by Paul Simon, and "Turn Down Day." And there's a video floating around the web of Simon & Garfunkel performing "Ball" live in 1967.
He actually co-wrote it with Bruce Woodley of the Seekers. The Cyrkle heard it while touring with S&G, and Paul said: "You like it? It's yours." They also recorded "Cloudy," but in a classic case of "what were they thinking," passed on another song he offered them, "59th Street Bridge Song (Feelin' Groovy)." Another irony is John Simon, who was the Cyrkle's producer, but no relation to Paul, altho Paul has a younger brother Eddie, also in the music biz. John went on to work with the Band, Blood Sweat & Tears, and Big Brother & the Holding Company.
I always like hearing about what might have been: the first choice to play a famous TV or movie role that went to someone else…got any for me?
Yup, I got a doozie: Tom Poston was the first choice of Buck Henry and Mel Brooks to play Max on "Get Smart." But often not getting your first choice turns out to be the charm…can you imagine Agent 86 without "that voice"? Actually, the voice goes back to Don Adams' early days as a standup comic, and was supposed to be his impression of William Powell. Not for nothing, but Don Adams' real last name was Yarmy, and he had a younger brother named Dick Yarmy, also a comedian and actor.
But really, the whole character of Maxwell Smart was lifted directly from that of Byron Glick, the inept hotel detective Adams played on an earlier series, "The Bill Dana Show," which lasted a season and a half, 1963-65, with Jose Jimenez as an elevator operator. Since there weren't enough episodes made, this show was never marketed for syndication, but it would be a treat for Baby Boomers to see today. The hotel manager was played by Jonathan Harris, Dr. Smith on "Lost in Space"…Gary Crosby was the bellhop…and Maggie Peterson, Charlene Darling on "The Andy Griffith Show," was a waitress.
Talk about "Look who it is!" moments…on just the first handful of episodes, you'd see Sue Randall, Miss Landers on "Leave It To Beaver"…Percy Helton, that squeaky-voiced, hunchbacked actor…and 3 familiar faces from Mayberry: Jack "Howard Sprague" Dobson, Sue Ann Langdon, and Rachel Ames, longtime stalwart on "General Hospital" as Nurse Audrey…wow! Needless to say, "The Bill Dana Show" was a Danny Thomas production, as was "The Andy Griffith Show."
Do you remember a toy set called Hamilton's Invaders? I wanted it for Christmas, but never got it. But who the heck was Hamilton?
This was one of the more interesting play-sets of the Sixties, made by Remco from 1964-65. The basic premise was simple enough: giant bugs and spiders attacking, and blue plastic "army men," called Blue Defenders, fighting back with tanks, jeeps, and the "Hornet Helicopter." There was even a pistol and a helmet with goggles so you could personally join in the battle. The whole deal was reasonably popular with kids…legend has it that it was discontinued because Moms didn't like the idea of large, almost foot-long creepy crawlers scuttling across the floor with the pull of a string, altho they were later reused in "Voyage to the Bottom of the Sea" play-sets.
But the part of the concept that seemed a little off was naming the lead bug "Horrible Hamilton." Given other monster names of the day, like Godzilla, Gorgo, Konga, Caltiki, and Mothra, "Hamilton" didn't seem to fit. Was this the kind of name your creepy old great uncle might have had, like Murgatroyd or Algernon? Wouldn't Boris or Igor have been at least a little better? And why was the logo of the Blue Defenders a Horrible Hamilton bug head, with the words "Hamilton's Invaders," as if they were on the bugs' side? Perhaps you really were supposed to be rooting for the bugs over the soldiers, given the popularity of giant creature movies at the time. Reminds me of the time I took my wife to see the movie "War and Peace." She rooted for War.
Till next month, check out Stolf's phenomenal blogs and podcasts, all linked at deepfriedhoodsiecups.wordpress.com…and as always, rock on!
Saturday, July 2, 2011
invasion USA! (4CE reprint june 2011)
Invasion USA!
April's column had this list of British Invasion groups: Dave Clark Five, Animals, Billy J. Kramer and the Dakotas, Searchers, Rolling Stones, Swinging Blue Jeans, Herman's Hermits, Gerry and the Pacemakers, Freddie and the Dreamers, Manfred Mann, Nashville Teens, Honeycombs, Small Faces, Kinks, Them, Yardbirds, and Zombies…and the number of times they appeared on "American Bandstand" in 1964 and 1965, combined: zero.
Take that same list and check the "Ed Sullivan Show": 24 appearances, including 7 by the Dave Clark Five, 4 each for the Animals and Gerry & the Pacemakers…even the bad boy Rolling Stones were invited back for a second go. And Sullivan did around 40 shows per year, while Dick Clark was on every week. The old geezer really understood show biz. In fact, the DC5 were on one month after the Beatles, for 2 consecutive Sundays. I can still remember the buzz on the school bus that Monday morning, how the Beatles were history, one-month wonders, and the Tottenham Sound was the new sensation.
But the British Invasion was in full swing. The earliest use of that term I can find in Billboard magazine is March 21, 1964: BRITISH INVASION OF U.S. SPREADS. REDCOATS WIDEN BEACHHEAD HERE. And on the Hot 100 chart for April 4, Beatle singles were in positions #1, #2, #3, #4, and #5, with 7 more ranging from #31 to #79...an astonishing feat not likely to ever be repeated. Record companies scrambled to sign British bands, and not surprisingly, they looked first to the Beatles' hometown of Liverpool.
Here are the British groups that charted in 1964, with the Liverpudlians marked with an asterisk: February: Dave Clark Five...March: *Searchers, *Swinging Blue Jeans...April: *Billy J. Kramer & Dakotas...May: Rolling Stones, Peter & Gordon, Hollies, Chad & Jeremy, *Gerry & Pacemakers. There was a summer lull…nothing new in June or July, only the Animals and Lulu in August. Then September saw Manfred Mann, the Kinks, Nashville Teens, Honeycombs...October: Herman's Hermits, Zombies...November: the Hullabaloos, Marianne Faithful...and December: Petula Clark joined the fray. Several other British bands released singles in 1964, but wouldn't see chart success until 1965 or later: the Who, Yardbirds, Them, Wayne Fontana & Mindbenders, Freddie & Dreamers, Fortunes, Spencer Davis, and Ian Whitcomb.
And the record bins were packed with British groups that got squeezed out in the stampede, and never hit the charts. Liverpool groups included the Merseybeats, Mojos, Escorts, Undertakers, Ian & Zodiacs, the Big Three, King-Size Taylor & Dominos…even Rory Storm & the Hurricanes, Ringo's old group, had a 45 out on Columbia, one of the few major labels, along with RCA and A&M, that didn't jump in with both feet. From all across Great Britain came the Rockin' Berries, Applejacks, Gonks, Snobs, Fourmost, Paramounts (with Gary Brooker, later of Procol Harum), Pretty Things, Screamin' Lord Sutch…even Pete Best, the Beatle's old drummer, cut some records, but made barely a ripple.
By my rough estimate, 25% of the weekly Top 40 slots and 18% of the Hot 100 slots were held by British artists in 1964. These percentages actually increased a little in 1965, but by that time an American Response was beginning to emerge. Altho paradoxically, in one sense there was virtually no American Response at all!
Sure, kids grew their hair long and got groups together, practicing in garages across America. Even my erstwhile sidekick Cool Daddy was in a group, Ringo Kuryakin and the Agitation Stipulation. I asked if he was Ringo, and he said no, he was Agitation. And they didn't have a garage, so they'd practice in the drive-way before his dad got home from work. Many of these groups would attain local fame, playing dances and clubs, and some even had regional hit records. But can you name one national hit from 1964 by an American group that sounded even remotely like the Beatles?
The closest I can come up with is "She's the One" by the Chartbusters, and if you've never heard it, it only reached #33 in July of 1964. They followed the typical pattern: house band at the Crazy Horse in the Georgetown section of Washington, D.C…recorded a couple albums for the budget label Diplomat as the Manchesters…Tom Hanks said they were the inspiration for the one-hit Oneders in the movie "That Thing You Do." The Beau Brummels had 2 hits in early 1965, then faded away. Many people think of "Lies" by the Knickerbockers, certainly the closest an American group came to capturing the Beatles Sound, but it barely snuck into the Top 20 in December, 1965, almost 2 years after B-Day.
Simply put, trying to copy the Beatles didn't cut it with the record-buying teens. As I said last month, there was too much of the "real thing" around. What the Beatles did do for American pop music was invigorate it like nothing else could. The look, the style, the clothes, the hair, the whole idea of "a group"…the attitude, the atmosphere, the "scene" if you will…it was something new, fresh, exciting. Young American musicians took their cue from the Beatles, and what did they come up with?
Add the Beatles to the surf bands and you got the Kingsmen, the Premiers, Sam the Sham and the Pharaohs, the Barbarians, the Leaves with "Hey Joe," the Music Machine, what was then called "punk," but is now referred to as the "garage bands." Take the Standells…when they appeared on "The Munsters" in 1965, they were a lame imitation of the Beatles, with something called "Come On and Ringo." By 1966, they were snarling with "Dirty Water."
Add the Beatles to rhythm and blues and you got the Blue-Eyed Soul of the Young Rascals. Even black music was energized…listen to Motown recordings before and after B-Day, and hear the pop sheen Barry Gordy was astute enough to apply to the Sound of Young America. Add the Beatles to country & western and you got the Byrds and Buffalo Springfield, leading to Poco, America, and the Eagles. Add the Beatles to folk, and out comes the Mamas and Papas, Lovin' Spoonful, Simon and Garfunkel…and when Bob Dylan went electric, it was time for the Yanks to take back their music!
Add the Beatles to harmony groups like the Lettermen, Four Preps, even the Four Seasons, and you got the Turtles, the Buckinghams, the Grassroots, and especially the Association. Add the Beatles to big band jazz with a horn section, and you got Blood Sweat & Tears and Chicago. And there was Paul Revere and the Raiders, who had been copying whatever sound was hot since 1961 with little success, until they hit their stride in 1965.
Then came the Monkees, further commercializing what was a blatantly commercial enterprise to begin with, and you got the stripped down silliness of bubble gum, followed by the bouncy records of the early 1970s, today collectively labeled "Sunshine Pop." And ironically enough, the Beatles took note of it all, and themselves fed on the emerging new American sounds. It was only after the Beatles weren't the Beatles anymore that real imitators emerged: Badfinger in the UK, the Raspberries in the US, the whole Power Pop movement, and the Electric Light Orchestra, an outgrowth of one of the most Beatle-like British bands, the Move. And the Move never hit it big in the US…they were just too Beatley for their own good.
In short, what a time to own a transistor radio! Catch you on the web at Deepfriedhoodsiecups.wordpress.com, and c'mon baby let's do the rock on!