First, I wanted to say that this weekend I will post, but I could be late in responding to comments…I will when I get breaks from this.
We have had this vehicle for around 17 years or so. It stopped running a long time ago, and we stored it at a friend’s house. I’ve had many offers on it (believe it or not), but I never wanted to sell it. A truck can come in handy, and my buddy Greg has an engine and transmission that would fit perfectly. It is a 1985 Chevy S-10 Durango. It’s not too pretty, but it will be able to get you from A to B, and it makes a great trash truck on the weekends.
This weekend (that’s the plan), he is going to show me how to take an engine out and put one back in. He has a diesel engine that went into a Chevy Luv in the 80s, and they get around 40 mpg. The truck was dirty as hell, and it took me 3 scrubbing bubbles cans to get the tree sap and everything else off of it. This week, after work, Greg and I took the grill, bumper, and headlights off. I guess you are never too old to learn.
I’ll let everyone know how it goes…hopefully everything will go through, and Saturday we will start. I will be commenting, but I will be late!
I can’t tell you how happy I was to get that reaction to the last Titanic post, and thank you all for reading. Thank you for indulging me. You all probably know these terms, but I didn’t, so if any of you were like me, this will help. The Bow is the front of the ship, and the Stern is the back end. The Port Side = left-hand side of a ship when you are on board and facing forward toward the bow. Starboard Side = right-hand side of a ship when you are on board and facing forward toward the bow. I’m going to tell you a not-so-well-known event about some fortunate luck the RMS Titanic had (yes, it could have been much worse), the lifeboat dilemma, and a couple of personal stories.
The coal fire. Before the iceberg ever struck RMS Titanic, a smoldering coal fire had been burning in one of the ship’s starboard coal bunkers, something not uncommon on steamships of the era (she had stops in Cherbourg, France, and Queenstown (now Cobh), Ireland before moving to the open Atlantic). To control it, stokers spent a couple of days shoveling an estimated 300 tons of coal from the starboard side over to the port side, a backbreaking task done in intense heat below deck. That weight shift reportedly gave the ship a slight port list (list = leaning) even before the voyage settled into the Atlantic. When the iceberg opened the starboard side to the sea, some historians believe that extra coal weight on the port side briefly helped counter the incoming flooding, slowing the list to starboard for a short time and giving the ship a little more balance during the early stages of the sinking. They did a computer simulation, and the computer said it should have sunk in 90 minutes. Then they entered the coal being moved, then the computer said it would take 3 hours, or 180 minutes. It really took 160 minutes, more on that with the next post.
When the call came for women and children first, there weren’t many wanting to do that. Lowering lifeboats was dangerous at that time, and many people have been killed doing that. You are 80 feet or so up in the air, being lowered into cold and darkness. It was incredibly dark on that moonless night. They had only the stars and the ship’s lights over the Atlantic.
Life Boats. One thing that I didn’t understand was why the Titanic didn’t have enough lifeboats for the people she carried. The maritime law at the time was based on the ship’s tonnage. The Titanic had more lifeboats than she needed by law. Also, the Titanic was built so you could cut her into 3 sections and she would float (so she was a lifeboat as well), but that was without damaging 5-6 compartments. Back then, lifeboats were there to ferry people between the sinking ship and a rescue ship. They were not meant to be boats that people would stay on for hours or days in the Atlantic. They were also fortunate that the ocean was calm that night, not usual for the Atlantic. These were not light fiberglass boats; they were heavy wooden boats, weighing almost 6 tons with all of the equipment!
They had 20 lifeboats (The 20 boats consisted of 14 standard wooden boats, two emergency cutters, and four collapsible boats), and they didn’t even get all of those off properly. Remember, they were lowered by davits (crane-like devices used on ships to support, raise, and lower equipment such as boats, anchors, or dinghies). The Titanic gave them 160 minutes, which, compared to other shipwrecks, is quite a bit of time. What they needed more than anything was more time. I’m not saying that it would be a bad thing to have enough lifeboats. But when you think about it, launching those boats back then from so high up (around 80 feet) was not easy. Imagine being lowered into complete darkness up 80 feet. That is why passengers didn’t want to leave the warm ship to freeze in the Atlantic. They still thought the Titanic would not sink. It took so long that it drew people into a false sense of security. There were so many ships in the shipping lanes that they thought another ship would be close by and they would have enough time. That night, the Californian was 20 miles away at most (Titanic’s crew saw the ship and kept signaling), but their Marconi (radio operator) operator had gone to bed, and Titanic’s pleas were not heard by them. It was heard by the Carpathia (further away), which came to the Titanic’s rescue, but she didn’t get there until around 4am the next morning. They picked up the survivors, but that is it. The Titanic struck the iceberg at 11:40 pm on April 14, 1912, and sank at 2:20am on April 15, 1912.
So yes, I do believe more lifeboats would be a good idea, but more training and also passenger drills would have made a huge difference. You must remember, though, when a ship is listing to one side badly, you have to use the other side to lower boats, which wipes out half of your lifeboats on the up high side. Now they have made davits that will handle the listing, I’m happy to say.
Personal Story: Charles Joughin (one of my favorites) was the chief baker aboard the Titanic, and his story became one of the most unusual survival accounts from the disaster. He knew he would not take a lifeboat seat, but he was going to help as many as possible and feel good at the same time. He didn’t give up, but knew what could happen. After the ship struck the iceberg, Joughin helped load women and children into lifeboats and threw deck chairs overboard so people in the freezing water might have something to cling to. Unlike many passengers who panicked, he stayed busy and calm as the ship’s final moments approached… Well, yes, he stayed calm and warm because, in between helping women and children, Mr Joughin would go to his cabin for shots of whiskey. When the final lifeboats departed, Joughin remained calm and rode the Titanic down like an elevator. Witnesses confirmed this. Luckily for him, there was no big suction from the stern going down. He was the last one to get off the stern as it plunged. He was picked up by a lifeboat and survived! He wasn’t falling down drunk, but he was highly buzzed, and he said he didn’t feel the 28-degree water and stayed in the water longer than most. Others say he was in the water longer than most that lived. He did a great job and saved a lot of lives.
Charles did everything he could, like sending bread to the lifeboats, helping to load people into them, throwing wooden chairs into the water for floatation devices, and still having time for a drink or two or three.
Personal Story: Fashion buyer and journalist Edith Rosenbaum (an older Edith in the 1970s above) boarded the RMS Titanic in first class after covering fashion collections in Europe, carrying with her a small toy pig music box given by her mother for good luck. When the ship struck the iceberg on April 14, 1912, Rosenbaum at first resisted leaving her cabin, worried about her belongings, but a crew member reportedly insisted she get into Lifeboat No. 11. She got the crew member to go get her toy pig. Finally, the crew member had to throw the pig into the boat just so that Edith would get in. The pig was a small mechanical music box that played the tune “La Maxixe.” During the long hours in the freezing Atlantic, she wound it up to calm frightened passengers and children in the lifeboat. Rosenbaum survived the disaster and later credited the pig with helping keep spirits up during the ordeal. The toy itself survived as well, becoming one of the more personal artifacts connected to the sinking of the Titanic.
No authenticated, fully intact lifeboats from the Titanic are known to exist today. Of the 20 boats, 13 were brought to New York by the Carpathia, where they were stored briefly, stripped for souvenirs, and likely broken up, sold, or re-purposed for other White Star Line vessels by 1913. Some plaques that went on them still exist, as shown above.
If you get really interested in the Titanic, I recommend two YouTube channels. These young guys are historians and have a huge passion. You have Mike Brady from Oceanliner Designs and Sam Pence from Historic Travels. Mike is very professional and personable. Sam is very personable and professional. Both are ship fans, especially the old steamer liners. I get lost in their YouTube sites.
If you want to see where we are…HERE is a list of the episodes.
Hard to believe…we are over halfway through. Checkmate is one of my favorites. This episode drops Number Six into one of the Village’s more elaborate games, a human chess match where the residents are sorted into opposing sides. The setup looks like a harmless diversion, but the rules are social as much as they are strategic. People are pushed into roles, told who their allies are, and encouraged to treat the other side as the enemy. Number Six plays along long enough to understand the board, but he’s really watching how quickly the Village can turn a crowd into pieces.
It starts with a strange human chess game in the Village, where people stand in for the pieces and obey the moves given to them. Number Six notices that the “queen” seems different from the others; she still has some independent spirit. He later learns from the old chess master that in the Village, people can be divided into two groups: those who obey and those who command. Number Six thinks that idea might help him find allies for an escape.
He begins testing people to see who still has a will of their own. He gathers a small group, including the Rook and a few others, and they build a raft in secret. The plan is to slip away by sea, but the Village is always built on suspicion. The problem is not just the guards or Rover; it is trust. Number Six believes he has found the difference between prisoners and collaborators, but the Village turns that against him.
Number Six tries to break that rhythm of the village by talking to both sides, refusing to treat the other group as less human. He looks for weak points in the setup, not just to win the game, but to prove the whole thing can be disrupted if people stop obeying the script.
The rook and Number 6 devise an escape plan, and this time, the rook is not really a stooge of the village…but he was suspicious, just like Number 6, which didn’t help with the plan. The chessboard is a symbol, but the message is clear: keep people separated, keep them competing, and they won’t unite against the ones running the game. In the Village, even play is a trap, and every move is watched, but he keeps aiming for the one move they can’t plan for, refusing to be just another piece. Be Seeing You!
Back in the ’80s, I remember seeing this band on SNL. Of course, the big thing at the time was that Page and Plant were working together again, although not with Zeppelin. I loved their sound, and I went out and bought the single Sea Of Love.
You know what I liked most about these recordings by the Honeydrippers? Rather than modernizing the song, they kept the arrangement close to the spirit of the original. The horns, piano, and guitar all feel like a small-club sound. It doesn’t have a huge, polished studio production.
This song was first written and recorded by Roy Brown in 1949. Brown’s version had that jump-blues energy that helped bridge swing music into early rock and roll. Roy’s original version peaked at #13 on the US R&B charts. Little Richard has mentioned Roy Brown as a huge influence.
I first really found out about Plant and his love of rockabilly through The Concert of Kampuchea. He sang the Elvis song Little Sister with Rockpile. Great performance of that song. So, when I heard the Honeydrippers, it sounded totally in place. Robert Plant had been talking for years about his love of early R&B and jump blues, the records he grew up with before Led Zeppelin. The Honeydrippers project gave him a way to step outside Zeppelin’s shadow and record the kind of songs that first got him interested in music.
The band’s floating members were incredible. Robbie Blunt was one, and he did a lot of great work on Plant’s solo music. To me, his guitar playing was just as identifiable as Plant’s voice; it was that important in Plant’s music. I would say the same thing about James Wisely, whose guitar playing was just as important to Chris Isaak. Other members included Jimmy Page, Jeff Beck, Nile Rodgers, Brian Setzer, Paul Shaffer, and many more. Talent was not an issue for this band.
Their album The Honeydrippers: Volume One peaked at #4 on the Billboard Album Charts, #40 in Canada, and #56 in the UK in 1984. The song peaked at #25 on the Billboard 100 and #18 in Canada.
A concert by The Honeydrippers
Rockin’ At Midnight
Have you heard the news? There’s good rockin’ at midnight Oh, I’m gonna hold my baby With all my might What a wonderful time we had that night Hey, hey, there’s good rockin’ at midnight
Have you heard the news? There’s good rockin’ at midnight Oh, I’m gonna hold my baby With all my might What a wonderful time we had that night Hey, hey, there’s good rockin’ at midnight
Now, sweet Charlie Brown and sweet Lorraine They got caught on Caledonia’s land Sioux City Sue, she told it all Those fellas got drunk and they had a ball Crying hey, hey Good rockin’ at midnight
Well, two times
Well, I tell y’all about now Deacon John He got so high they had to take him home Hear the news about Ella Brown He stole a chicken and he ran out of town Hey, hey, there’s good rockin’ at midnight
Caledonia got drunk and grinning like a pig She fell down and she lost her wig Charlie Brown she laughed and she got sick Caledonia got mad and grabbed a brick Crying hey, hey, there’s good rockin’ at midnight
Oh now let’s go two times
Oh yeah
Oh yeah, wanna tell you all about now Deacon John He got so high they had to take him home Here’s the news about Ella Brown He stole a lot of chickens and he ran out of town Crying hey, hey there’s good rockin’ at midnight
Now, now, now Caledonia got drunk and grinning like a pig She fell down and lost her wig Charlie Brown she laughed and she got sick Caledonia got mad and grabbed a brick Crying hey, hey there’s good rockin’ at midnight
Uh, mm, rock Gonna rock Gonna rock Gonna rock Gonna rock Gonna rock Gonna rock
Well yeah I’m gonna rock Gonna rock We gonna rock Ooh-hoo yeah we’re gonna rock We’re gonna rock There’s still rockin’ at midnight, midnight, midnight, midnight, yeah oh
Let’s go out ah
Now sweet Charlie Brown and sweet Lorraine They got caught on Caledonia’s land Soon pretty soon they told it all Those girls got drunk and they had a ball Crying hey, hey there’s good rockin’ at midnight
We gonna rock We gonna rock Yeah-es we gonna rock Now, now, now we gonna rock We gonna rock Ooh-ah-yeah Ooh yeah Ooh yeah
It’s always great to hear Gram Parsons solo, with the Byrds, or with the Flying Burrito Brothers. I’ve heard of these guys but never listened to them. I’m happy I did now. It’s the so-called country rock, but with harmonizing that sounds great.
They were one of those bands that existed for only a short time but left a legacy. They formed in Los Angeles in 1966, and the band was built around singer, songwriter, and guitarist Gram Parsons. Parsons was interested in mixing traditional country music with rock, soul, and folk, long before the style had a name. At a time when psychedelic rock was dominating California, they were heading in the opposite direction. They were more toward pedal steel guitars and country storytelling.
The original lineup shifted a few times, but the best-known version included Parsons alongside bassist Chris Ethridge, guitarist John Nuese, and drummer Jon Corneal. The group played clubs around Los Angeles during a period when country music was still looked down on by much of the rock crowd. Parsons admired artists like George Jones and Merle Haggard, and he wanted to bring that sound into a younger rock audience. The band shared stages with folk-rock and psychedelic acts while carving out a different identity.
In 1968, the band released its only album, Safe at Home. Though it did not sell well at the time, the record later became recognized as an early blueprint for country rock. By the time the album arrived, Parsons had begun drifting toward The Byrds, where he would push country influences even further on Sweetheart of the Rodeo.
Years later, he revisited this song during his solo period, and it became one of the songs most tied to him. It also found new life when Emmylou Harris recorded it for her 1977 album Luxury Liner, helping introduce it to a wider audience.
Luxary Liner
Well a luxury liner, forty tons of steel If I don’t find my baby now then I guess I never will
I’ve been a long lost soul for a long long time I’ve been around, everybody ought to know what’s on my mind You think I’m lonesome? So do I, so do I
Well I’m the kind of guy that likes to make a livin’ runnin’ ’round And I don’t need a stranger to tell me that my baby’s let me down You think I’m lonesome? So do I, so do I
Well a luxury liner, forty tons of steel No one in this whole wide world can change the way I feel
I’ve been a long lost soul for a long long time I’ve been around, everybody ought to know what’s on my mind You think I’m lonesome? So do I, so do I
I’ve heard and heard of Patsy Cline since I can remember. Where I live, she has never been forgotten. She was and still is a huge country star, but I never really considered a lot of her music pure country. I don’t mean that as a put-down, but it also had some jazz influence in there. One of the best voices in music, period.
She was born Virginia Patterson Hensley. Known in her youth as “Ginny,” she began to sing with local country bands while a teenager, sometimes accompanying herself on guitar. By the time she had reached her early 20s, Cline was promoting herself as “Patsy” and was on her way toward music stardom.
This song wasn’t a Patsy Cline-written song. It came from a young Willie Nelson, still trying to get a break in Nashville. He wrote it as a slow ballad, built around a melody that moved in ways most country songs at the time didn’t. Nelson pitched it around town, and it eventually reached producer Owen Bradley, who was creating what became known as the Nashville Sound: smoother arrangements, piano, light rhythm, and restrained backing vocals.
When Cline first heard it, she wasn’t much into it. The melody felt awkward, the phrasing didn’t land right, and it didn’t sit naturally in her voice on the first try. But Bradley heard something in it and pushed forward. The session took place at Bradley’s Quonset Hut studio in 1961. There was a problem from the start. Cline had recently been in a car accident and still had bruised ribs. That mattered because the song required long, controlled lines and soft phrasing, the kind that needs steady breath support.
The band included pianist Floyd Cramer, whose playing style gave the song its gentle feel. Cline struggled on the first attempts. The phrasing, especially the opening line, “Crazy, I’m crazy for feeling so lonely,” kept slipping out of place. They stopped the session and came back later. When she returned, she approached it differently by stretching the lines.
That second take is the one that stuck. The way she adapted it to her style because of the injuries ended up helping it. She doesn’t oversing it. She lets the pauses sit and it worked out beautifully. The song became one of Cline’s defining recordings and one of the most well-known songs in country and pop crossover history. It also helped establish Nelson as a songwriter to watch, even before his own recording career took off.
The song peaked at #9 on the Billboard 100, #2 on the Billboard Country Charts, and #8 in Canada in 1961.
Crazy
Crazy I’m crazy for feelin’ so lonely
I’m crazy Crazy for feelin’ so blue
I knew You’d love me as long as you wanted And then someday You’d leave me for somebody new
Worry Why do I let myself worry
Wonderin’ What in the world did I do?
Oh… crazy For thinking that my love could hold you I’m crazy for trying And crazy for crying And I’m crazy for loving you Crazy For thinking that my love could hold you I’m crazy for trying And crazy for crying And I’m crazy for loving You
Like with Bessie Smith, I keep coming back to this voice. In this one, she reminds me a little of Smith. Holiday’s voice could be aggressive or laid back, but always full of meaning and soul.
Holiday could truly call this song her own from top to bottom. She wrote it herself in 1939, at a time when much of her material came from professional songwriters and Tin Pan Alley publishers. This was the B-Side to Strange Fruit, but this song went on to become known as well.
This song was different because it came directly from her own life, built around a blues structure that fit her voice. Holiday had lived through enough difficult relationships by then that the words carried more weight than a typical mistreated song.
Though it was not one of her biggest commercial hits, it stayed with Holiday throughout her career. She returned to it often in live performances because it gave her room to interpret the story differently as she aged. By the 1950s, her voice had changed, rougher and more worn, but that only added credence to the song.
The most famous later version came in 1957 when Holiday appeared on the CBS television special The Sound of Jazz. Surrounded by an all-star lineup that included Ben Webster, Coleman Hawkins, Gerry Mulligan, and Lester Young, Holiday delivered a performance that many consider one of the most moving moments in television music history.
She took this simple blues song and made it feel like a private memory shared with the public.
Here is Billie singing Fine and Mellow in 1957 on The Sound Of Jazz. The entire show is up there if you want to watch it. It is incredible. She would pass away only two years after this was recorded. This is my go-to version of this song.
Fine and Mellow
My man don’t love me Treats me oh so mean My man he don’t love me Treats me awfully He’s the lowest man That I’ve ever see
He wears high trimmed pants Stripes are really yellow He wears high trimmed pants Stripes are really yellow But when he starts in to love me He’s so fine and mellow
Love will make you drink and gamble Make you stay out all night long Love will make you drink and gamble Make you stay out all night long Love will make you do things That you know is wrong
But if you treat me right baby I’ll stay home everyday If you treat me right baby I’ll stay home everyday But you’re so mean to me baby I know you’re gonna drive me away
Love is just like the faucet It turns off and on Love is like the faucet It turns off and on Sometimes when you think it’s on baby It has turned off and gone
First of all, no, this is not about the 1997 movie! Speaking of which, if you want to see more of the true story of the Titanic through a movie (though I highly recommend a documentary or better yet a book), watch A Night to Remember, which was filmed in 1958. Titanic experts have said that the 1958 movie is closer to the truth than the 1997 movie. What brought this up again on my radar was Titanic’s 114th anniversary on April 15, 2026. I felt like a kid again reading about this once great ship. This was one of my loves as a kid.
Along with growing up with baseball, dinosaurs, and The Beatles…I had other interests. The Titanic was so interesting to me because it was such a mystery. I was also interested in her two sister ships, The Olympic and the Britannic. I’ve read a lot of books and watched countless documentaries on the Titanic. One of my first non-Beatles books I ever read was the book by Walter Lord namedA Night To Remember (the one they made the movie about). I’m reading one now called On a Sea of Glass: The Life & Loss of the RMS Titanic, and I would highly recommend it. It’s probably the best book I’ve ever read on this subject. You get to know the human side of this, which has been missing.
She was built well with new watertight compartments. Today’s ships have that feature. I remember the day in 1985 when they found her. I was so excited, but also bummed that she split in half while sinking. Although many said that the ship did split in half at the 1912 hearings, they were ignored, but were vindicated decades later. Why does this continue to interest me? I can’t tell you why.
The Titanic and her older sister, Olympic. They were hard to tell apart, but the Titanic was slightly larger and heavier; both were 882 feet and 9 inches long. Most of the pictures you see of the “Titanic” are really of the Olympic.
It was a safe ship, but its Achilles heel was found with that iceberg. Some modern ships would sink as well if the same damage happened. The Titanic had 16 watertight compartments and could take 4 of them being breached, but 6 were breached, and it was going to sink. It wasn’t a huge gash but just puncture marks. She took 2:40 minutes to sink; they have done tests with other ships of the period, and most sink within an hour or way less with the same damage. There are so many stories from that ship. I wanted to post this and see if there would be any interest in hearing some of the stories in future posts.
I’ll give you one story in this post, a short one. Isidor and Ida Straus sailed on this ship. They owned Macy’s Department Store. Isidor Straus was a co-owner of Macy’s and had served as a U.S. Congressman. He and his wife, Ida, were returning from Europe in April 1912, traveling first class on the Titanic. By all accounts, they were devoted to each other after more than 40 years of marriage.
When the ship struck the iceberg, and it became clear that lifeboats would be needed, the rule of “women and children first” was enforced. One of the officers did “women and children only” and sent half empty boats down. Ida was offered a seat in a lifeboat, and Isidor, as a man, was expected to remain behind. At first, Ida stepped toward the lifeboat. But when she realized her husband would not be allowed to go with her, she refused to leave him. She reportedly said words that have been passed down in different forms (where you go, I go), but the meaning is clear: she would not be separated from him after a lifetime together.
Isidor also refused special treatment. He was told he could take a place in a boat because his age and prominence, but he declined, saying he would not go before other men who were in greater need. Ida then gave her seat in the lifeboat to her maid, Ellen Bird, and even handed over her fur coat, telling her she would not need it anymore.
The last widely accepted account is that the two were seen sitting together on deck chairs, calm in the middle of chaos, waiting as the ship went down. Other accounts say they were seen holding hands near the railing as the end came. Either way, they chose to remain together rather than be separated.
Isidor’s body was later recovered at sea. Ida’s body was never found.
Their story became a symbol of loyalty and sacrifice at the time, often compared to the dignity shown by others that night. That included the ship’s musicians who continued playing as the situation worsened. In the years since, the Strauses have been remembered for what they valued most, staying together to the end.
When the maid made it home, she went to the daughter of the Straus family, Sara Straus. The maid (Ellen Bird) offered the coat back to the family, but the daughter said no. She told her that her mom wanted her to have it and to keep it in her memory.
The Titanic had heroes, like the crew who worked in the engine rooms to keep the lights on until the final plunge. They all lost their life. If those lights had not been on, many more would have perished. It’s an interesting ship and human story.
Titanic finds her voice again with 3 of her whistles salvaged from the ocean floor. The ship had 3 sets of three whistles. This one is a complete set. It didn’t take too much work to make these work again. It had not been heard since 1912.
If you want to see where we are…HERE is a list of the episodes.
The dance macabre, or the dance of death, was an allegorical motif in medieval art to remind us that death is everywhere and unexpected. In this one, we have Mary Morris playing Number 2. The Village is trying to extract information from Number 6, who is under electronic hypnosis. They have an older colleague (number 42) of Number 6 asking him for information, but it doesn’t work. Number 2 makes it clear she doesn’t want Number 6 broken, but for him to agree voluntarily. This episode feels like it should have been earlier in the series.
Following a seemingly impromptu yet half-hearted escape attempt that leaves him collapsed on the beach, Number Six awakes to find that a dead man has washed up on the shore. This Number Six uses some kind of radio on the body in an attempt to contact the outside world about his plight. Of course, though, the Village knows about it already.
While all of this is going on, preparations are underway for a strange Carnival celebration, complete with masks, costumes, and a sense that the entire Village is waiting for some kind of performance. The episode never fully explains every detail, which gives it a dreamlike quality, as though Number Six has stepped into a ritual that has happened many times before. Number 6 does some spy work before that, exploring some rooms. He finds the man who washed ashore, whose info the village has altered the dead man’s info so when he is “found,” they will think it’s Number 6.
As the celebration begins, the atmosphere turns darker. The Carnival becomes a public trial, with Number Six placed in front of the crowd and forced into a role he never agreed to play. The villagers act as spectators and participants at the same time, blurring the line between justice and entertainment. He does call his old friend (dressed as a court jester) as a witness, but the village has destroyed him completely. He looks more like a living dead man. Like many episodes of The Prisoner, this one is less about plot and more about mood, control, and the way the Village tries to rewrite a person’s sense of reality. Be Seeing You!
Thought I would cover Paul Kelly today with this rock song Darling It Hurts. I’m starting to know his music more and more now. His Christmas song How To Make Gravy has been on my list since 2022. With this song, yes, I love that guitar, but that organ is what hooked me on this one. He kept the organ right below the surface, and it fits. Below is a quick rundown of Paul.
Paul Kelly was born in Adelaide, Australia, and began performing in Hobart in 1974. By 1976, he had relocated to Melbourne, working the pub circuit before forming the Dots, who released Talk (1981) and Manila (1982). He moved to Sydney in 1984 and, alongside Steve Connolly and Ian Rilen, released Post in 1985. The following year, he formed Paul Kelly and the Coloured Girls and released Gossip (1986). The band later regrouped as Paul Kelly and the Messengers, issuing Gossip in the United States and following it with Under the Sun in 1987.
In 1993, Kelly published Lyrics, a collection of his songwriting, and continued evolving his sound with a new lineup that included Shane O’Mara, Bruce Haymes, Peter Luscombe, Stephen Hadley, and Spencer Jones. He has remained consistently active, continuing to record and release new material. His most recent album, Paul Kelly’s Christmas Train, arrived in 2021. Over the course of his career, Kelly has released 28 studio albums, along with 6 live albums, 8 compilations, and 64 singles.
This song was off his album Gossip, released in 1986. The song peaked at #19 on the Billboard Modern Rock Tracks. The album peaked at #15 in Australia and #34 in New Zealand. The album was in the book, 100 Best Australian Albums.
This link will take you to a live version that YouTube would not let me embed.
Darling It Hurts
I see you standing on the corner with your dress so high And all the cars slow down as they go driving by Thought you said you had some place to go What you doing up here putting it all on show? Darling it hurts to see you down Darlinghurst tonight
Do you remember Darling how we laughed and cried We said we’d be together till the day we die How could something so good turn so bad? I’d do it all again ‘coz you’re the best I’ve ever had Darling it hurts to see you down Darlinghurst tonight
See that man with the glad hands I want to kill him but it wouldn’t be right Now here comes another man with the glad bags I want to break him but it’s not my fight In one hand and out the other Baby I don’t even know why you bother Darling it hurts to see you down Darlinghurst tonight
I see you standing on the corner with your dress so high And all the cars slow down as they go driving by In one hand and out the other Baby I don’t even know why you bother Darling it hurts to see you down Darlinghurst tonight Darling it hurts to see you down Darlinghurst tonight Darling it hurts to see you down Darlinghurst tonight
When I first started to pay attention to the lyrics to this song…I would have bet Mr. Fogerty wrote it under the influence while looking out his back door. John said the song was written for his son Josh, who at the time was three years old. It was inspired by the Dr. Seuss book And To Think I Saw It On Mulberry Street. In the book, a kid is watching a parade go by with wondrous and magical animals and characters. Fogerty put the action “out my back door” to a place he could escape to.
I always loved the country feel of this song. It mixes country and some psychedelic lyrics. It sounded like a lot of John Fogerty songs from that period, it sounds simple on the surface but has a little more going on underneath than people think. It was released as a single along with Long As I Can See the Light, and it climbed high at a time when the band couldn’t seem to miss. What a single as well…doubt A-Side no doubt.
It is notable as the only time the country-style resonator guitar was used on a CCR recording. Fogerty purchased the Regal dobro from George Gruhn in Nashville after meeting bluegrass player Tut Taylor.
Here is what it is
The song was on the album Cosmo’s Factory… arguably Creedence’s best album. The album peaked at #1 on the Billboard Album Charts, #1 in Canada, and #1 in the UK in 1969. The song peaked at #2 on the Billboard 100 and #1 in Canada. To show you the fickled charts, CCR never had a number one hit song. Could it have been just bad luck? Could it have been that Fantasy didn’t push them hard enough or that Capitol, RCA, and WB’s songs were a bigger priority to play?
They did hit number one in 2021. Have You Ever Seen The Rain topped the Rock Digital Song Sales chart in July 2021, over 50 years after its release, following a resurgence on social media.
Lookin’ Out My Back Door
Just got home from Illinois lock the front door oh boy! Got to sit down take a rest on the porch. Imagination sets in pretty soon I’m singin’
Doo doo doo lookin’ out my back door.
There’s a giant doing cartwheels, a statue wearin’ high heels. Look at all the happy creatures dancing on the lawn. A dinosaur Victrola list’ning to Buck Owens.
Doo doo doo lookin’ out my back door.
Tambourines and elephants are playing in the band. Won’t you take a ride on the flyin’ spoon? Doo doo doo. Wond’rous apparition provided by magician.
Doo doo doo lookin’ out my back door.
Tambourines and elephants are playing in the band. Won’t you take a ride on the flyin’ spoon? Doo doo doo. Bother me tomorrow, today, I’ll buy no sorrows.
Doo doo doo lookin’ out my back door.
Forward troubles Illinois, lock the front door oh boy! Look at all the happy creatures dancing on the lawn. Bother me tomorrow, today, I’ll buy no sorrows.
This song is a burst of street music with a saxophone leading the way and a great groove. It has a sprawling feel like some Springsteen, Van Morrison, and Thin Lizzy had. I heard this band a lot growing up with songs like Weekend and Keep On Smiling, probably their biggest hit. Their lead singer, Jimmy Hall, has a hell of a voice as well.
When I posted about them before…I’ll say the same thing. First, let’s get this out of the way… wet–willy. Noun. (plural wet willies) (slang) A prank whereby a saliva-moistened finger is inserted into an unsuspecting person’s ear, often with a slight twisting motion… Oh yes…I’ve given them and have been on the receiving end. When you are 12, given wet willies were/are a lot of fun….oh wait…that was yesterday!
Wet Willie began as a blues-rock band during the Summer of 1969 in Mobile, Alabama. The original nucleus of the group that eventually became known as Wet Willie was called Fox. Wet Willie eventually moved to Macon, Georgia, and signed to Capricorn Records, sharing the label with The Allman Brothers and The Marshall Tucker Band. Still, they really didn’t have a Southern rock sound.
The song was written by Jimmy Hall, the band’s lead singer and harmonica player. He built it around something simple, a street musician playing for spare change, trying to get through the day. Hall’s vocal carries that idea. There’s a sense of distance in it, but also some understanding of the situation.
The track connected on the radio, which helped push their 1977 album Mannorisms up a bit. It also gave the band a song that defined them for a lot of listeners. Over time, it’s held up as a snapshot of that moment when Southern rock still had room for R&B, gospel, and bar band roots all at once. The song peaked at #30 on the Billboard 100 and #30 in Canada in 1977.
Street Corner Serenade
Down on the corner back in my home town Me and the fellows used to gather round We sang a song with a happy beat I can still hear that harmony
When we sang de de de de deet Whoa, whoa, whoa De de de de deet Whoa, whoa, whoa Yeah, yeah De de de de deet Whoa, whoa, whoa De de de de deet Whoa, whoa, whoa
Guido, he’s the one that sang down low Crazy Johnny was a baritone I’m the one who took the lead And Little Jackie made our song complete
When he sang de de de de deet Whoa, whoa, whoa (Make me feel all right) De de de de deet Whoa, whoa, whoa De de de de deet Whoa, whoa, whoa (I can sing all night) De de de de deet Whoa, whoa, whoa
When a pretty girl would come strolling by We’d try so hard to catch her eye When she stopped to check us out That’s when we really sing it out loud
Like this: De de de de deet Whoa, whoa, whoa (Make me feel all right) De de de de deet Whoa, whoa, whoa (Oh, yeah, yeah) De de de de deet Whoa, whoa, whoa (Come on, sing it now) De de de de deet Whoa, whoa, whoa
I still think about those happy days And our street corner serenade Maybe someday we’ll get together again Down on the corner, me and my old friends
We’ll sing de de de de deet Whoa, whoa, whoa (Make me feel all right)
De de de de deet Whoa, whoa, whoa (We could sing all night)
De de de de deet Whoa, whoa, whoa (Come on, sing it with me)
De de de de deet Whoa, whoa, whoa
De de de de deet Whoa, whoa, whoa (Come on and feel all right)
De de de de deet Whoa, whoa, whoa (Come on people, now)
De de de de deet Whoa, whoa, whoa (just sing it with me) De de de de deet Whoa, whoa, whoa
De de de de deet Whoa, whoa, whoa (Come on and feel all right)
De de de de deet Whoa, whoa, whoa Yeah yeah
De de de de deet Whoa, whoa, whoa I can sing all night
De de de de deet Whoa, whoa, whoa Yeah
De de de de deet Whoa, whoa, whoa
De de de de deet Whoa, whoa, whoa (Yeah, yeah, yeah, yeah)
De de de de deet Whoa, whoa, whoa (Yeah, yeah, yeah, yeah)
This song has the effect on me that an Otis Redding song would. It makes me feel good, and it has a 50s – 60s R&B sound to it, at least to me. Also, the groove is infectious. They kept the structure simple and let the groove carry it. César Rosas handles the vocals, and the band keeps everything locked in behind him like a machine.
This song appeared in 1987 on By the Light of the Moon, the album they released in the same year as the success of La Bamba. That put the band in a different spot. They suddenly had a wider audience, but instead of repeating that sound, they went back to something closer to their roots, mixing rock and roll with R&B and older influences they grew up on in East L.A.
Los Lobos (Spanish for “The Wolves”) started in the early 1970s in East Los Angeles. High school friends David Hidalgo, Louie Pérez, Cesar Rosas, and Conrad Lozano started playing together. The guy who brought them together was Francisco González. He left the band before fame and became the musical director of El Teatro Campesino and went on to start Guadalupe Custom Strings. They started off by playing top 40 music, but soon tired of that. They drew inspiration from the Mexican folk music they heard as kids. They didn’t fit into the typical rock band mold… instead, they experimented with acoustic instruments like the jarana,requinto, and bajo sexto.
They opened for such artists as The Clash and The Blasters. Steve Berlin, who was born in Philadelphia, played saxophone for the Blasters and then left the group to join Los Lobos. To his delight, he found the other members of Los Lobos shared a love for country artists such as Hank Williams and George Jones. The band mixed so many styles…Mexican folk music, country, and rock all in the same bag.
This song peaked at #21 on the Mainstream Rock Charts, #45 in New Zealand, and #99 in the UK in 1987.
Set Me Free (Rosa Lee)
When love’s in vain, love can be so strange There ain’t nothing I can take to kill this pain Set me free Why don’t you, Rosa Lee?
She is a dream, but she’s so hard to please She moves around like an Egyptian queen Set me free Why don’t you, Rosa Lee?
I’m so afraid of losing you But there’s only so much that a man can do For Rosa Lee Why don’t you set me free?
When I hit the road the time goes slow Thinking about the places I used to go With Rosa Lee Why won’t you set me free?
They’re trying to close the Tu y Yo The Latin playboy and the sky room shows Rosa Lee Why don’t they let them be?
I can’t get used to losing you But there’s only so much that a man can do For Rosa Lee Why don’t you set me free?
People say that you were made for me I knocked my head [?] But they’ll never know the hurt it takes to be Rosa Lee
When love’s in vain, love can be so strange But I never thought I’d wear a ball and chain Set me free Why don’t you, Rosa Lee?
Set me free Why don’t you, Rosa Lee? Why don’t you set me free Why don’t you Rosa Lee, yeah
Why don’t you set free, why don’t you set free You got to set me free You got to, you got to, you got to set free, baby, ah, yeah, ooh
Viktor E. Frankl: Everything can be taken from a man but one thing: the last of the human freedoms—to choose one’s attitude in any given set of circumstances, to choose one’s own way
A friend recommended this for me, and I didn’t know what to expect. It’s a true story about a Jewish doctor who was in concentration camps during WW2. This guy was something special. He flat-out refused to be labeled as a victim after it was over and up to his death. His Jewish peers didn’t always like this, but Frankl moved on with his life and used his experience in the concentration camps to help people and to write this book.
He purposely left out the more gruesome details of his experience. He said in the book that you can easily look that up if you want to hear those details. Don’t get me wrong, it was still some of the worst experiences that you can imagine. The book has me thinking about how to handle situations better. You can really learn a lot from this.
Frankl was a psychiatrist in Vienna before World War II, already developing ideas about meaning and purpose as central to human psychology. That work was interrupted when he and his family were deported to Nazi concentration camps, including the Auschwitz concentration camp and later the Dachau concentration camp. His parents, brother, and pregnant wife did not survive. Frankl spent years moving through camps, observing not just suffering, but how different people responded to it.
While imprisoned, Frankl began shaping what would later become his theory of logotherapy (a meaning-centered psychotherapy focused on helping individuals overcome distress by finding purpose in life, even amidst suffering), the idea that the primary human drive is not pleasure or power, but the search for meaning. He paid close attention to prisoners who maintained a sense of purpose, even in small ways, and noted how that often affected their ability to endure.
After being freed in 1945, Frankl returned to Vienna. Within about nine days, he dictated the manuscript that would become Man’s Search for Meaning. The original German title was …trotzdem Ja zum Leben sagen (“…Nevertheless Say Yes to Life”). It was first published in 1946, initially with modest expectations, as one of many postwar accounts of camp life.
The book is split into two parts. The first is a direct account of life in the camps, not focused on historical detail, but on the psychological experience of prisoners. The second part introduces logotherapy in a structured way, explaining how meaning can be found through work, love, or even suffering itself.
Over time, the book found a much wider audience, especially after English translations began circulating in the 1950s. It stood apart from other Holocaust memoirs because it wasn’t just what they went through. It was an attempt to answer a larger question: how can people continue when everything is taken from them?
By the late 20th century, it became one of the most widely read books in psychology and personal development, selling millions of copies. It continues to be used in therapy, education, and leadership discussions as something tested under extreme conditions.
He wrote it as someone who lived through what he was trying to understand and thankfully passed it to us. If you even think you are having a bad day, it could probably always be worse.
If you want to see where we are…HERE is a list of the episodes.
This episode is in my top 3 episodes. The beginning of this one surprised me. It opens with the Village feeling empty for once. Number Six wakes up, walks outside, and finds no guards, no announcements, no smiling faces watching him. For a moment, it looks like the whole place has shut down, and he finally has a clean path out. He takes supplies, follows the shoreline, and escapes by boat, pushing forward with the cautious hope that this time it’s real. This is what I have been waiting for through the series so far, and now he will get to leave.
He makes it back to London and walks into a world that should feel familiar, but doesn’t. His old life isn’t the same: his home, his friends, his old co-workers all seem slightly off. On top of that, a lady named Miss Butterworth is living in his home now and driving his car.
The people around him act like they know him, but they don’t react the way he expects, and he doesn’t get straight answers. The episode shows how hard it is for him to trust anything after the Village. Even freedom can feel staged when you’ve been trapped long enough.
The final segment drives home the episode’s point. The escape is part of the experiment, another method to test him, track him, and see what he’ll do when he thinks he’s safe. This one is less about action and more about doubt, how the Village follows him even when it isn’t there. Number Six ends up back where he started, not because he gives up, but because the trap is built to reset. The birthday greeting isn’t a joke; it’s a reminder that the system has patience and it can wait.
This episode was originally to be directed by Michael Truman (who fell ill); McGoohan took over directorial duties himself, crediting the result to ‘Joseph Serf’. Be Seeing You!