1970s – Page 85 – PowerPop… An Eclectic Collection of Pop Culture

Ruth Gordon

Probably the most well-known role she played was the character of Maude in Harold and Maude. She is also remembered as Minnie Castevet in Rosemary’s Baby. Ruth Gordon was also a member of the Algonquin Round Table. She was a brilliant writer and actress. She was a stage actress mostly until the 1940s when she started to appear in films. She went back to the stage until the 60s where she started to be in films up to her death.

Ruth was born in 1896 in Wollaston, Massachusetts. She was a very successful writer and actress.

In 1915 she made her Broadway debut in Peter Pan in the role of Nibs. Her performance endeared her to the New York critic Alexander Woollcott, who introduced her to the famous Algonquin Round Table, a group that included George S. Kaufman, Robert Benchley, Edna Ferber, Alice Duer Miller, Heywood Broun, Dorothy Parker, and Harpo Marx.

Throughout the next three decades, Ruth appeared in several plays by playwrights such as Henrik Ibsen, Anton Chekhov, and Booth Tarkington. She enjoyed her greatest stage triumph in a 1936 production of The Country-Wife at London’s Old Vic.

She married screenwriter and director Garson Kanin in 1942. Ruth and Garson collaborated on many plays and screenplays together.

She appeared in a handful of films during the early 1940s, including Abe Lincoln in Illinois (1940), Dr. Ehrlich’s Magic Bullet (1940), Two-Faced Woman (1941; Greta Garbo’s final film), Edge of Darkness (1942), and Action in the North Atlantic (1943). She then returned to the stage and did not appear in another film for 22 years.

She came back to film in1965 with Inside Daisy Clover ( best-supporting-actress Oscar nomination). She won an Oscar for her supporting role in Rosemary’s Baby (1968), and she developed a strong cult following with her offbeat characters in Where’s Poppa (1970) and Harold and Maude (1971). She appeared in many television programs and made-for-TV movies during the 1960s and ’70s and won an Emmy in 1979 for her role on an episode of the popular sitcom Taxi. Gordon and Kanin also collaborated on one more writing project, the TV movie Hardhat and Legs (1980).

Ruth Gordon died on August 28, 1985, and Garson Kanin died on March 13, 1999.

Awards from IMDB

Academy Awards

1969 Winner
OscarBest Actress in a Supporting Role
Rosemary’s Baby (1968)

1966 Nominee
OscarBest Actress in a Supporting Role
Inside Daisy Clover (1965)

1953 Nominee
OscarBest Writing, Story and Screenplay
Pat and Mike (1952)
Shared with: Garson Kanin

1951 Nominee
OscarBest Writing, Story and Screenplay
Adam’s Rib (1949)

Shared with: Garson Kanin

1948 Nominee

OscarBest Writing, Original Screenplay
A Double Life (1947)

Shared with: Garson Kanin

https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/gordon-ruth-1896-1985

The Nerf Ball… a brief history

The name NERF actually comes from drag racing. In the late ‘60s, foam-covered bars sometimes called “nerf bars” were put on the front of the trucks that pushed racers to the starting line. This prevented damage to cars.

I had many Nerf Footballs and small Nerf basketballs growing up and they were always fun to bonk someone in the head.

In 1968 Reyn Guyer who invented Twister helped invent the Nerf Ball. He was testing a new caveman game with colleagues. The prototype included a bunch of foam-rubber rocks that, the men soon discovered, were more fun to throw at one another than use in the game. He then thought (and probably saved a lot of broken lamps…and spankings) they could be used as balls and played within a home.

In 1969 Reyn tried to sell the idea to Milton Bradley but they didn’t want it, but Parker Brothers did. The first Nerf product as a 4-inch polyurethane foam ball. They marketed it as “world’s first official indoor ball” and soon they had blasters, footballs (Fred Cox, kicker for the Vikings actually invented the Nerf Football), basketballs, living room baseball and a line of Nerf products.

Parker Brothers handed the company off to Kenner Products, a sister company, in 1991, when Hasbro acquired the Nerf line. Throughout the 1990s and early 2000s, the Nerf brand served under the subsidiaries OddzOn and Larami before Hasbro took full control of the brand.

Monkees Nerf Ball Commercial

Allman Brothers – Melissa

This was Duane Allman’s favorite song that his brother Gregg wrote….but it was also one of the first songs the band recorded without Duane Allman, who died in a motorcycle accident about four months before it was released. Eat A Peach was dedicated to Duane. At Duane Allman’s funeral in 1971, Gregg Allman played this song on one of Duane’s old guitars. At the service, Gregg said, “This was my brother’s favorite song that I ever wrote.”

The song peaked at #86 in the Billboard 100 in 1972. The song didn’t chart too well but it remains a staple of classic radio.

Gregg actually taught Duane how to play the guitar, who quickly became a virtuoso. They played together until 1969 when Duane assembled what would become the Allman Brothers Band. Gregg was reluctant to sign on having already been accepted into college to be a dental surgeon. He soon did and they played together until Duane’s death in 1971.

From Songfacts

Gregg Allman spoke at length about this song in an interview with the San Luis Obispo (California) Tribune on November 30, 2006: “I wrote that song in 1967 in a place called the Evergreen Hotel in Pensacola, Florida. By that time I got so sick of playing other people’s material that I just sat down and said, ‘OK, here we go. One, two, three – we’re going to try to write songs.’ And about 200 songs later – much garbage to take out – I wrote this song called ‘Melissa.’ And I had everything but the title. I thought (referring to lyrics): ‘But back home, we always run… to sweet Barbara’ – no. Diane…? We always run… to sweet Bertha.’ No, so I just kind of put it away for a while.

So one night I was in the grocery store – it was my turn to go get the tea, the coffee, the sugar and all that other s–t… and there was this Spanish lady there and she had this little toddler with her – this little girl. And I’m sitting there, getting a few things and what have you. And this little girl takes off, running down the aisle. And the lady yells, Oh, Melissa! Melissa, come back, Melissa!’ And I went, ‘Oh – that’s it.’ I forgot about half the stuff I went for, I went back home and, man, it was finished, only I couldn’t really tell if it was worth a damn or not because I’d written so many bad ones. So I didn’t really show it to anybody for about a year. And then I was the last one to get to Jacksonville – I was the last one to join the band that became the Allman Brothers. And my brother sometimes late at night after dinner, he’d say, ‘Man, go get your guitar and play me that song – that song about that girl.’ And I’d play it for him every now and then.

After my brother’s accident, we had three vinyl sides done of Peach, so I thought well we’ll do that, and then on the way down there I wrote “Ain’t Wastin’ Time No More.” I wrote that for my brother. We were all in pretty bad shape. I had just gotten back from Jamaica and I was weighing at about 156, 6-foot-1-and-a-half – I was pretty skinny. So we went back down there, got in the studio and finished the record. And the damn thing shipped gold.”

This was first recorded in 1968 by the 31st Of February, one of Gregg and Duane Allman’s first bands. Duane’s version of this with the 31st Of February is the first recording of him playing the bottleneck slide guitar, a technique he became famous for.

Steve Alaimo, who was operating the studio where The Allman Brothers recorded this song, received a songwriting credit on this track along with Gregg Allman. Alaimo had a few Hot 100 entries as a singer in the ’60s and early ’70s before moving into production work.

The part of the song that begins: “Crossroads, will you ever let him go” is probably a reference to Robert Johnson, a blues legend who supposedly went to a crossroads and sold his soul to the devil.

Gregg Allman told Esquire in 2013 that thanks to ready access to biphetamines, he had been awake for about two days when he wrote this song. He was working like crazy on another song, but when he played it for his brother, Duane said, “What you have here is a new set of lyrics to an obscure Rolling Stones song.” Said Gregg: “That’s discouraging as s–t, right there. And just as I was about to say f–k it, I wrote ‘Melissa.'”

The Allman Brothers performed this on the last episode of the syndicated Dennis Miller Show on July 25, 1992.

This was used in a commercial television advertisement campaign for Cingular/AT&T Wireless.

Melissa

Crossroads, seem to come and go, yeah
The gypsy flies from coast to coast
Knowing many, loving none
Bearing sorrow, having fun
But, back home he’ll always run
To sweet Melissa
Mmm, hmm

Freight train, each car looks the same, all the same
And no one knows the gypsy’s name
And no one hears his lonely sighs
There are no blankets where he lies
Lord, in his deepest dreams the gypsy flies
With sweet Melissa
Mm, hmm

Again, the mornin’s come
Again, he’s on the run
A sunbeam’s shinin’ through his hair
Fear not to have a care
Well, pick up your gear and gypsy roll on
Roll on

Crossroads, will you ever let him go?
Lord, Lord
Or will you hide the dead man’s ghost?
Or will he lie, beneath the clay?
Or will his spirit float away?
But, I know that he won’t stay
Without Melissa
Yes, I know that he won’t stay, yeah
Without Melissa
Lord, Lord, it’s all the same

Elvis’s Fool’s Gold Loaf

Supposedly on February 1, 1976, Elvis Presley boarded his private jet (The Lisa Marie) from Graceland to Denver for one reason…a Fool’s Gold Loaf sandwich. He flew some buddies he was entertaining to the Colorado Mine Company restaurant who served these 50 dollar sandwichs. They actually only landed at the airport and were met by the owners of the restaurant with Nick Andurlakis the cook with 22 of these sandwiches to be consumed on the plane. Nick and the pilots were invited to stay and dine with Elvis…After the meal was finished…Elvis and his friends flew back to Graceland.

The Colorado Mine Company is now sadly closed but Nick Andurlakis now owns a restaurant called Nick’s Cafe and still sells these to anyone brave enough to try. … better have some cholesterol pills and a couple of defibrillators would not hurt.

Here are the ingredients and instructions if you dare. Nick has said…make these at your own risk. One should feed 8-10 people and a bite or two would not hurt… but again supposedly, Elvis could knock one down by himself…

2 T margarine
1 loaf French white bread
1 lb / 450 g bacon slices
1 jar of smooth peanut butter
1 jar of grape jelly

Preheat the oven to 350F/180C. Spread the margarine generously all over all sides of the loaf. Place it on a baking sheet in the oven.

Meanwhile, fry the bacon in a bit of oil until it is crisp and drain it thoroughly on paper towels.

Remove the loaf from the oven when it is evenly browned, after approximately 15 minutes. Slice the loaf lengthwise and hollow out the interior, leaving as much bread along the walls as desired. Slather a thick layer of peanut butter in the cavity of the loaf and follow with another thick layer of grape jelly. Use lots of both.

Arrange the bacon slices inside the cavity, or, if desired, layer the bacon slivers between the peanut butter and jelly. Close the loaf, slice and eat.

Here is much more about the event… “Thank You Very Much”

https://www.messynessychic.com/2015/09/15/elvis-presleys-legendary-midnight-sandwich-run-on-his-private-jet/

Bruce Springsteen – Tenth Avenue Freeze Out

A great song with an R&B feel to it. Little Steven directed the horn section. Bruce sings it like it’s his last day on earth…like many of his other songs. Tenth Avenue runs through E Street in Belmar, New Jersey. The band got their name from the street, which is where they used to rehearse. Springsteen, however, has said that he has no idea what a “Tenth Avenue Freeze-out” is.

The song peaked at #83 in the Billboard 100 in 1976. It was off the Born To Run album that propelled him to stardom.

The “Big Man” in the third verse is Clarence Clemons…the saxophone player. Springsteen met him when Clemons came into a club in Asbury Park, N.J., where Bruce was playing. It was a stormy night, and the door flew off the hinges when Clemons opened it. Springsteen would talk about how he “Literally blew the door off the place.”
In Clemons’ autobiography Big Man: Real Life and Tall Tales, he explained: “It was one of those nor’easters – cold, raining, lightning and thunder. Now, this is God’s honest truth. I open the door to the club and a gust of wind blew the door right out of my hand and down the street. So here I am, a big black guy, in Asbury Park, with lightning flashing behind me. I said to Bruce, ‘I want to sit in.’ He says, ‘Sure, anything you want.'”

From Songfacts

This tells the story of the E Street Band coming together. On Springsteen’s first album in 1973, he didn’t use a lot of backup musicians, but on his next one The E Street band was crucial to the sound. Later on, Springsteen released the albums Nebraska and The Ghost Of Tom Joad without the band, but they didn’t sell nearly as well as the ones they played on.

Clemons was working as a social worker at the time and playing in a Jersey Shore bar band when he got his big break with Bruce.

At many of their early shows, this was the first song in the set.

Springsteen used this to introduce the band on the 1999 E Street Band Reunion tour. He would explain what each member brought to the group (Roy Bittan – Foundation, Little Steven – Soul, etc.), ending with Clemons. Some nights the band members did short solos as they were introduced.

“Bad Scooter” in the opening line, “Teardrops on the city Bad Scooter searching for his groove” is Springsteen. Note the initials are the same.

While touring with “the other band” during his 1992/93 tour promoting the Human Touch and Lucky Town albums, Springsteen sometimes brought out Clarence “Big Man” Clemons to play his usual sax part in this song. When introduced, the crowd always gave the big man a huge ovation. >>

After imploring the audience to put down the guacamole dip and chicken fingers (we were actually eating chicken wings, but anyway…) Springsteen played this as the first song of his performance at halftime of the 2009 Super Bowl between the Cardinals and Steelers.

Tenth Avenue Freeze Out

Tear drops on the city, Bad Scooter searching for his groove
Seem like the whole world walking pretty and you can’t find the room to move
Well, everybody better move over, that’s all
‘Cause I’m running on the bad side and I got my back to the wall
Tenth Avenue freeze-out
Tenth Avenue freeze-out

Well, I was stranded in the jungle trying to take in all the heat they was giving
The night is dark but the sidewalk’s bright and lined with the light of the living
From a tenement window a transistor blasts
Turn around the corner, things got real quiet real fast
I walked into a Tenth Avenue freeze-out
Tenth Avenue freeze-out

And I’m all alone, I’m all alone
(And kid, you better get the picture)
And I’m on my own, I’m on my own
And I can’t go home

When the change was made uptown and the Big Man joined the band
From the coastline to the city, all the little pretties raise their hands
I’m gonna sit back right easy and laugh
When Scooter and the Big Man bust this city in half
With the Tenth Avenue freeze-out
Tenth Avenue freeze-out
Tenth Avenue freeze-out
Tenth Avenue freeze
I’m talking ’bout a Tenth
Oh, nothing but a Tenth
I’m talking ’bout a Tenth
I’m talking bout a Tenth, Tenth, Tenth, Tenth, Tenth, Tenth, Tenth, Tenth
Tenth, Tenth, Tenth, Tenth, Tenth, I’m talking ’bout a
Tenth Avenue freeze-out…

Night Gallery – “Tell David” a look into the future

I was watching this Night Gallery episode (Tell David) from 1971 a few months ago and was surprised at some things they showed. It was about a woman who got lost in the rain and ended up at a stranger’s home. She went in to use the phone and the house was in the future…Actually in the future. There is a twist but that doesn’t matter.

A few things caught my attention. I started to research it and Me-TV had a page dedicated to it. Almost looks like Rod Serling knew something…or the set designers did…

One was a video phone…reminded me of Skype.

Her dialing a number

Techno Music

GPS or Google Maps

Non-Tar Cigarettes… Current Vape?

From IMDB

“Tell David…” is an odd episode. A woman loses her way, trying to find her house, and ends up getting help from some odd people. They have technology beyond that which she is used to. David, the young man (who has the same name as her little boy) is a master at repairing devices she’s never seen. When she returns to her husband, he is dressed as a monster and nags at her and chases her. It is obvious that this is the way he sees her. She is monumentally jealous. She comes to realize that she has an opportunity to change her history, to prevent herself from doing a deadly thing. As it goes along, it becomes nonsensical. It also gets caught in the problems with the mutation of time.

Simon and Garfunkel – Cecilia

One of the many songs on the greatest hits album. If I remember right it closed out the second side on the album. The main thing I remember about this song is the rhythm track. Cecilia was originally on the Bridge Over Troubled Water album. The song peaked at #4 in the Billboard 100 and #2 in Canada in 1970.

The greatest hits came out in 1972 and in 2003, the album was ranked number 293 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

From Songfacts

This song is about a guy who had a girlfriend, but then she broke up with him. Like it says in one of the verses, “I got up to wash my face, when I come back to bed someone’s taken my place.” But later on they get back together – “Jubilation, she loves me again.”

No too much should be read into the lyrics of this song. As Paul Simon explained in an interview with Rolling Stone: “Every day I’d come back from the studio, working on whatever we were working on, and I’d play this pounding thing. So then I said, ‘Let’s make a record out of that.’ So we copied it over and extended it double the amount, so now we have three minutes of track, and the track is great. So now I pick up the guitar and I start to go, ‘Well, this will be like the guitar part’ – dung chicka dung chicka dung, and lyrics were virtually the first lines I said: ‘You’re breakin’ my heart, I’m down on my knees.’ They’re not lines at all, but it was right for that song, and I like that. It was like a little piece of magical fluff, but it works.” >>

In the Catholic church, Cecilia is the patron saint of musicians. In this context, the song can be interpreted as the singer asking for musical guidance, possibly to help writing a song. Paul Simon says he can’t remember the specific inspiration when he was writing the song, but he knew Cecilia is the goddess of music. >>

According to the liner notes to Paul Simon’s Anthology album, the strange sounding rhythm to this particular track was Paul and Art slapping their thighs, while Paul’s brother Eddie thumped a piano bench and a friend named Stewie Scharff strummed a guitar with its strings slackened to the point of atonality. This all happened at a house Paul and Art were living in on Blue Jay Way in the summer of 1969, not long after the Charles Manson murders took place at the nearby home of the actress Sharon Tate. After they started the pounding and came up with the rhythm, they got out their Sony reel-to-reel tape recorder and made the recording. There was a 1:15 section that Simon thought was great, so they looped it in the studio, which wasn’t easy in 1969 – you had to actually cut out the tape and put it on the recorder in a loop. Their producer Roy Halee added some reverb, and they had their basic backing track from this home recording.

Worked into the mix is the sound of drumsticks falling on the parquet floor of the Columbia Records studio in Los Angeles. Simon also played a bit of xylophone that was heavily processed and added to the track. They had a lot of fun recording it and were enjoying various experiments in sound.

When the Bridge Over Troubled Water album was finished, Paul Simon, Art Garfunkel and Roy Halee all thought this would be the first single, as catchy, upbeat songs were typically chosen to introduce a new album. Columbia Records president Clive Davis decided that the powerful, plaintive title track needed to be the album’s calling card, so he bucked convention and released that one as the first single instead. It was a shrewd move: “Bridge Over Troubled Water” went to #1 for six weeks a propelled the album to the top as well – it spent a total of 10 weeks at #1. “Cecilia” was issued as the second single.

In 1996 Suggs, the lead singer for Madness, teamed up with vocal duo Louchie Lou and Michie One to record a cover that peaked at #4 in the UK. This is the only time the song reached the Top 75 in Britain as surprisingly Simon & Garfunkel’s original 1970 single failed to chart there.

The Swedish pop group Ace Of Base recorded a song called “Cecilia” on their 1998 album Flowers that was based on the character in this song.

Cecilia

Cecilia, you’re breaking my heart
You’re shaking my confidence daily
Oh, Cecilia, I’m down on my knees
I’m begging you please to come home

Cecilia, you’re breaking my heart
You’re shaking my confidence daily
Oh, Cecilia, I’m down on my knees
I’m begging you please to come home
Come on home

Making love in the afternoon with Cecilia
Up in my bedroom (making love)
I got up to wash my face
When I come back to bed someone’s taken my place

Cecilia, you’re breaking my heart
You’re shaking my confidence daily
Oh, Cecilia, I’m down on my knees
I’m begging you please to come home
Come on home

Ba-ba-ba-ba-ba-ba-ba, ba-ba-ba-ba-ba-ba

Jubilation
She loves me again
I fall on the floor and I’m laughing

Whoah-oh-oh, oh-oh-oh-oh-oh, oh-oh-oh-oh-oh-oh-oh
Whoah-oh-oh, oh-oh-oh-oh-oh, oh-oh-oh-oh-oh-oh-oh
Whoah-oh-oh, oh-oh-oh-oh-oh, oh-oh-oh-oh-oh-oh-oh
Whoah-oh-oh, oh-oh-oh-oh-oh, oh-oh-oh-oh-oh-oh-oh

Thurman Munson

On August 2, 1979, I remember the news that afternoon at 6 saying that a plane crash happened in Canton Ohio and Thurman Munson was dead. It was shocking because he was only 32 years old and catcher for the Yankees.

While I was watching the 77 and 78 World Series there was one player I dreaded seeing at-bat with men on…, not Reggie Jackson…it was Thurman Munson. He is the only then Yankee player that I liked and respected.

Thurman is more remembered today for how his life ended than being a very good baseball player. He didn’t look like a prototypical Yankee. He was short and squatty with a sometimes difficult personality. He never did hit with a lot of power, the most home runs he ever hit in a season was 20. He ended up with a career batting average of .292 and an OBP of .346…very good for a catcher in that time period or now.

He was born in Canton Ohio in 1947 and grew up in a dysfunctional family. He kept progressing at baseball and attended Kent State. He was drafted with the 4th pick of the draft by the Yankees in 1968. He played with the Yankees from 1969 – 1979. Munson won Rookie of the Year in 1970. He was a 7-time All-Star and an MVP in 1976. Thurman hurt his shoulder in the mid-seventies and had problems throwing the ball to second but he played through it all.

He had a rivalry with Carlton Fisk with the Red Sox and was fun to watch play. He was grumpy with reporters but good with kids and teammates. Former GM Gabe Paul said, “Thurman Munson is a nice guy who doesn’t want anyone to know it.”

He missed his family and wanted to be at home. He learned to fly and bought a prop plane so he could go home every night after a game. He kept progressing from plane to plane until he bought a Cessna $1.4 million twin-engine jet. He was practicing takeoffs and landings that day and came in and clipped some trees. He had three passengers, David Hall, and Jerry Anderson.

The plane caught fire as soon as it landed. Munson was conscious but had suffered serious spinal damage and couldn’t move. Anderson and Hall tried to pull Thurman to safety but the main door was jammed. Munson’s legs were trapped inside the crushed fuselage and wouldn’t budge. By the time the two men burst through the emergency exit, the smoke had consumed the entire plane. Hall and Anderson jumped out of the jet barely surviving. Thurman was dead at 32.

At the time I thought Thurman would be in the Hall of Fame. His numbers at the time of his death were comparable to Carlton Fisk. Munson appeared on the ballot in 1981, two years after a plane crash ended his life, and never got more than 15.5% of the vote.

Here is a list of his accomplishments from Wiki…but remember he was passed in many categories after he died.

1st all time – Singles in World Series, 9
10th all time – Batting average by catcher, .292
11th all time – Postseason batting average, .357
11th all time – Caught stealing percentage
16th all time – On base percentage by catcher
20th all time – OPS by catcher
24th all time – Slugging by catcher
26th all time – Hits by catcher
26th all time – Runs by catcher
AL Rookie of the Year (1970)
AL MVP (1976)
3× Gold Glove Award
3 AL Pennants
2 World Series titles
7× All Star

The Sweet – Little Willy

Most of the Sweet’s singles sounded like different bands were on each one. They changed their styles quite a bit. Little Willy was their most successful single and it peaked at #3 in the Billboard 100, #1 in Canada, and #4 in the UK.

This song is a catchy pop song and they would soon move to Ballroom Blitz, Fox On The Run, and Love is Like Oxygen.

From Songfacts

This song was written by Nicky Chinn and Mike Chapman – neither of whom were members of Sweet. Instead, Chinn and Chapman were a major force in the British pop music industry in the 1970s. Just as in the US, Leiber and Stoller became known for “the Brill Building sound,” Chinn and Chapman in the UK became known as the “Chinnichap” sound. They produced songs for Suzi Quatro, and British bands Smokie, Mud, Racey, and The Arrows. Chapman would later produce albums for Blondie and The Knack, and along with Holly Knight, wrote Pat Benatar’s hit “Love Is A Battlefield.”

“Little Willy” was Sweet’s biggest US hit, peaking the charts at #3 when it was re-released in 1973. It was a non-album single, but went gold in the US and UK all by itself anyway. Critics in the UK dismissed the song as “bubblegum” and referred to the lyrics as “nursery porn.” Sweet wanted to shed their bubblegum/ glam-rock image and become more hardcore, so they later turned to writing their own songs.

Putting this song together, Chinn and Chapman used a pounding drum beat popularized by Slade and producer Mike Leander. They mixed in the riff from the Who song “I Can’t Explain,” and added the exceptionally catchy chorus, which dug into your ear and wouldn’t let go. The song didn’t tell any kind of story – just that Willy won’t go home – but listeners didn’t care and with Glam Rock, the lyrics weren’t supposed to make sense anyway.

Little Willy

North side , east side
Little Willy, Willy wears the crown, he’s the king around town
Dancing, glancing
Willy drives them silly with his star shoe shimmy shuffle down

Way past one, and feeling allright
‘Cause with little Willy round they can last all night
Hey down, stay down, stay down down
‘Cause little Willy, Willy won’t go home

But you can’t push Willy round
Willy won’t go, try tellin’ everybody but, oh no
Little Willy, Willy won’t go home
Up town, down town

Little Willy, Willy drives them wild with his run-around style
Inside, outside
Willy sends them silly with his star-shine shimmy shuffle smile
Mama done chase Willy down through the hall

But laugh, Willy laugh, he don’t care at all
Hey down, stay down, stay down, down
‘Cause little Willy, Willy won’t go home
But you can’t push Willy round

Willy won’t go, try tellin’ everybody but, oh no
Little Willy, Willy won’t go home
Little Willy, Willy won’t
Willy won’t, Willy won’t

Little Willy, Willy won’t
Willy won’t, Willy won’t
Little Willy, Willy won’t
Willy won’t, Willy won’t

Little Willy, Willy won’t
Willy won’t, Willy won’t
Little Willy, Willy won’t go home
But you can’t push Willy round

Willy won’t go, try tellin’ everybody but, oh no
Little Willy, Willy won’t go home
Little Willy, Willy won’t go home
But you can’t push Willy round

Willy won’t go, try tellin’ everybody but, oh no
Little Willy, Willy won’t go home

Baseball in the 1970s

Growing up in Tennessee I was and still am a huge baseball fan. My father grew up liking the underdog Dodgers with Jackie Robinson when they played in Brooklyn while his brothers were Yankee fans. In 1977 I started to watch baseball and through my father connected with the Dodgers. He was more of a college football fan (Tennesse loves football) but I never got his passion for that. I watched some baseball before 77 but I was totally lost in it from then on.

Watching the 70s baseball was a special event. The hair, mustaches, and every color of uniform were interesting. For some reason, the Oakland A’s uniforms were my favorite.

I’ve always liked the individualism of baseball. No rigid measurements in baseball parks like football or other sports. Every park is a unique home. There were cookie cutter (multi-purpose) parks with astroturf like Cincinnati and Pittsburgh. The 8th wonder of the world Astrodome in Houston. A very old Tiger Stadium in Detroit. The pavilion and palm tree Dodger Stadium. The ivy-walled Wrigley field in Chicago and the oh so green Fenway Park.

Baseball wasn’t as accessible then as it is now. You had to wait for the Saturday game of the week and Monday night baseball. That made it more special. There were certain teams they showed more than others. I was lucky, the Dodgers were one of the teams. I remember a lot of Pirates, Reds, Yankees, Red Sox, and Dodger games because they all were very good.

I remember the players of that time so well. Thurman Munson (the only then Yankee I liked), Al Hrabosky (The Mad Hungarian), Dave Parker (He looked like the biggest man ever), Luis Tiant, Oscar Gamble (the cool hair), Bill Lee, Willie Stargell, Greg Luzinski, Gary Maddox, Mike Schmidt, George Foster (who I met a few years ago), Joe Morgan (who I liked better as a player than announcer), Catfish Hunter.

I could probably still mimic most of the players batting stances now.

Some of the managers were just as popular as the players for different reasons. Earl Weaver (one of the pioneers of sabermetrics), Billy Martin (could make about any team win…for a short time), and Sparky Anderson.

Some events I remember are Disco Demolition Night in Chicago (exploding disco records) and 10 cent beer night (that turned into a riot in Cleveland…who would have guessed that?).

My favorite player… Hands down Ron Cey. Steve Garvey was the marquee name of the Dodgers but Ron Cey would come through in the clutch and had a better batting eye than Garvey. I played 3rd base in little league and on up because of Cey. His nickname was “The Penguin” because he ran like one. I tried running like that until the coach asked me what was wrong with me…he thought I was hurt.

When the Dodgers traded Cey to Chicago it broke my heart. He went on to do good with the Cubs but to this day I don’t understand that trade.

I still watch baseball and don’t miss a box score and it is still a game full of characters…maybe not as colorful now.

Rod Stewart – The First Cut Is The Deepest

Rod Stewart has covered many songs in his career. I’ve always liked this version of the song. It was written by Cat Stevens in 1967. The song peaked at #21 in the Billboard 100, #11 in Canada, and #1 in the UK in 1977. Stewart recorded the song at Muscle Shoals Sound Studio in Sheffield, Alabama, United States, and it appeared on his 1976 album A Night on the Town. It was released as a double A-side single with “I Don’t Want to Talk About It”.

Rod Stewart had a total of 52 songs in the Billboard 100, 16 top 10 hits, and 4 number 1’s.

From Songfacts

This was written by Cat Stevens. It was a hit for P.P. Arnold in Britain in 1967, reaching #18 in the charts. Stevens, who included it on his debut album New Masters later in 1967, never released his version as a single, as he felt Arnold’s rendition was definitive.

P.P. Arnold is a female singer from America who got her start as one of Ike & Tina Turner’s backup performers (an Ikette). After two years with Ike & Tina, she moved to London and got a record deal with Immediate Records. Cat Stevens was also part of the London music scene at the time, and his song found it’s way to Arnold, who recorded it for her first album.

Arnold, who was in an abusive marriage as a teenager, felt it was a perfect song for her. “It encapsulated everything that I was at the time,” she said. “Having the courage to get out of that [abusive relationship] and create a life for me and my kids. What a blessing.”

In 1968, Arnold scored another UK hit when her cover of “Angel of the Morning” went to #29.

This is about a guy who has met a girl he wants to start a relationship with. In the song, he is explaining the hurt he feels because of his first love, and how it is keeping him from diving into this potential new relationship.

In America, the first version to chart was by Keith Hampshire, who took it to #70 in 1973. Rod Stewart covered it in 1976, taking it to #21 US and #1 UK; Sheryl Crow released her version in 2003, which made #14 in the US and #37 in the UK.

The First Cut is the Deepest

I would have given you all of my heart
But there’s someone who’s torn it apart
And she’s taken just all that I had
But if you want I’ll try to love again
Baby I’ll try to love again but I know

The first cut is the deepest
Baby I know the first cut is the deepest
But when it come to being lucky she’s cursed
When it come to loving me she’s the worst
I still want you by my side
Just to help me dry the tears that I’ve cried
And I’m sure going to give you a try
And if you want I’ll try to love again
Baby I’ll try to love again but I know

The first cut is the deepest
Baby I know the first cut is the deepest
But when it come to being lucky she’s cursed
When it come to loving me she’s the worst

I still want you by my side
Just to help me dry the tears that I’ve cried
But I’m sure gonna give you a try
‘Cause if you want I’ll try to love again
Baby I’ll try to love again but I know

Wooh
The first cut is the deepest
Baby I know the first cut is the deepest
When it come to being lucky she’s cursed
When it come to loving me she’s the worst

The Ramones – Blitzkrieg Bop

The Ramones were no frills and to the point. No long solos or instrumental breaks. Just 2-minute rock songs full of energy. This was the song that helped launch the Ramones.

The song never charted but is probably their best-known song because of the many movies, tv shows, and commercials it’s been in. The song was mainly written by drummer Tommy Ramone, while bassist Dee Dee Ramone came up with the title (the song was originally called “Animal Hop”). Dee Dee also changed one line: the original third verse had the line “shouting in the back now”, but Dee Dee changed it to “shoot ’em in the back now”.

From Songfacts

The Ramones had a very sparse budget at the time: The entire album cost just $6,400 to make.

This song has been used in a number of movies and TV series, including The Simpsons (the 2007 “Treehouse of Horror” episode), and the 2006 Entourage episode “I Wanna Be Sedated,” revolving around a Ramones documentary.

In the 2001 movie Jimmy Neutron: Boy Genius, it was used in a scene where Jimmy and his friends go on a rampage of fun. Some other uses:

Fear No Evil (1981)
National Lampoon’s Vacation (1983)
Sugar & Spice (2001)
Shattered Glass (2003)
The King of Queens (2004)
Date Night (2010)
The Crazy Ones (2013)
Parenthood (2014)
Spider-Man: Homecoming (2017)

The New York Yankees baseball team often plays this when one of their big hitters is coming to the plate. Johnny Ramone was a huge fan of the Yankees.

Green Day performed this at the 2002 ceremonies when The Ramones were inducted into the Rock and Roll Hall of Fame.

In 1991, this song piqued the interest of Budweiser, which used it in a commercial for their beer (without the “Shoot ’em in the back” line). There was no debate in the Ramones camp over whether to authorize it: they were all happy to get the money and exposure. In 2003, the song found its way into another commercial, this time for AT&T Wireless. It was later used in commercials for Diet Pepsi, Coppertone and Taco Bell.

Rob Zombie covered this song on the album A Tribute To Ramones (We’re A Happy Family).

Fellow first-wave punk band The Clash covered this song live on tour in 1978, often as a medley with their own song “Police and Thieves.”

Blitzkrieg Bop

Hey ho, let’s go! Hey ho, let’s go!
Hey ho, let’s go! Hey ho, let’s go!

They’re forming in straight line
They’re going through a tight wind
The kids are losing their minds
The Blitzkrieg Bop

They’re piling in the back seat
They’re generating steam heat
Pulsating to the back beat
The Blitzkrieg Bop

Hey ho, let’s go
Shoot ’em in the back now
What they want, I don’t know
They’re all revved up and ready to go

They’re forming in straight line
They’re going through a tight wind
The kids are losing their minds
The Blitzkrieg Bop

They’re piling in the back seat
They’re generating steam heat
Pulsating to the back beat
The Blitzkrieg Bop

Hey ho, let’s go
Shoot’em in the back now
What they want, I don’t know
They’re all revved up and ready to go

They’re forming in straight line
They’re going through a tight wind
The kids are losing their minds
The Blitzkrieg Bop

They’re piling in the back seat
They’re generating steam heat
Pulsating to the back beat
The Blitzkrieg Bop

Hey ho, let’s go! Hey ho, let’s go!
Hey ho, let’s go! Hey ho, let’s go!

https://en.wikipedia.org/wiki/Blitzkrieg_Bop

Warren Zevon – Excitable Boy

Maybe the darkest pop song that I know. You first hear this song and it sounds cheery until you pay attention to the lyrics. I must admit I love the song because it’s just so different. The upbeat happy music with Linda Ronstadt on backing vocals is very catchy and then Warren tells the story and it ends up very dark, to say the least.

When I first paid attention to it…I was shocked and listened to it over and over to make sure I was hearing the lyrics right…No he couldn’t be singing this right? Warren had a dark sense of humor and it shows on this.

The song was not released as a single. The album peaked at #8 in the Billboard 100. Werewolves of London was the hit off of the album. It is perhaps Zevon’s best album.

Excitable Boy
Well, he went down to dinner in his Sunday best
Excitable boy, they all said
And he rubbed the pot roast all over his chest
Excitable boy, they all said

He took in the four a.m. show at the Clark
Excitable boy, they all said
And he bit the usherette’s leg in the dark
Excitable boy, they all said
Well, he’s just an excitable boy

He took little Suzie to the Junior Prom
Excitable boy, they all said
And he raped her and killed her, then he took her home
Excitable boy, they all said
Well, he’s just an excitable boy
After ten long years they let him out of the home
Excitable boy, they all said
And he dug up her grave and built a cage with her bones
Excitable boy, they all said
Well, he’s just an excitable boy

Top 10 Favorite TV Themes 1-5

Some TV Themes can be annoying but many can be very catchy. I’m listing my top 10 on two posts. There are so many that narrowing it to ten was almost impossible. I’ve stuck with older ones for the post. I left out cartoons…

5. The Courtship of Eddie’s Father -Harry Nilsson sang this one staring the one and only Bill Bixby.