I had a lot of comedy albums growing up and these were my favorites.
10: Steve Martin – His Wild and Crazy album, Let’s Get Small, and Comedy is Not Pretty stayed on my turntable forever.
9: Sam Kinison – His routine of Are You Lonesome Tonight is worthy enough to have him on this list.
8: Chris Rock – I followed him from SNL on.
7: Eddie Murphy – His eighties standup videos are still staples of the era.
6: Bob Newhart – If you like dry humor…this is your man.
5: George Carlin – Carlin was just so cool. His routines are well known now. He was topical and many of the things he expressed are true today. He was also on the first SNL episode.
4: Woody Allen – He had a wit as quick as you could get. His stand up from the sixties is outstanding. I had a friend with a lot of his standup routines that we listened to in the 80s.
3: Robin Williams/Jonathan Winters – Williams and Winters were very similar because Winters was a huge influence on Robin Williams. They could pick any subject and make it funny.
2: Bill Hicks –NOT family-friendly. Bill was as dark as they come but he made you think whether you agreed with him or not. He will offend EVERYONE… I like Denis Leary but Leary got a lot of his material from Hicks and cleaned it up. It can get uncomfortable listening to Bill…maybe that is the reason I liked him.
1: Richard Pryor – Richard was a game-changer…I had his albums growing up and he changed stand up comedy. He can make me laugh at any time.
Honorable Mention: Albert Brooks, Lily Tomlin, Rodney Dangerfield, Robert Klein, Joan Rivers, and Denis Leary.
***One comedian, I never understood…maybe it’s because I didn’t grow up in his time. He had an interesting story but I just never got Lenny Bruce. I find his material once in a while funny but many lists have him as number 1 or 2. Yes, he did make a huge impact on his profession like few others but I just don’t get him like some do.
Since I posted Paul McCartney’s Concert for Kampuchea yesterday I thought I would concentrate on the festival John Lennon popped up at in 1969… The Toronto Rock and Roll Revival. Unlike Kampuchea which was spread out on multiple days and nights, this festival was held on one day September 13, 1969.
John Lennon and the Plastic Ono Band just played fifties songs plus John’s new song that Beatles rejected…Cold Turkey. The reason for the fifties’ songs was because the band had limited time to rehearse and they wanted to do songs they all knew.
It was a great festival lineup but it’s remembered mostly by John Lennon’s participation. The Doors were the headliners and John only agreed to do it
The concert was conceived by promoters John Brower and Ken Walker with financial backing from Eaton’s department store but stymied by poor ticket sales, the venture began to lose support. The festival was almost canceled but Brower called Apple Records in the UK to ask John Lennon to emcee the concert. Lennon agreed to appear on the condition he would be allowed to perform.
The Lennons flew in from England with a makeshift band that included Eric Clapton, Klaus Voormann, Alan White, and Yoko. They arrived at the backstage area at about 10 p.m, while Cat Mother and the All Night Newsboys were singing Good Old Rock ‘n’ Roll to an audience of about 20,000.
Lennon was quoted as saying “I threw up for hours until I went on” because it had been three years since he played live in a concert setting. The band went on and did a good job…ragged but it was a hastily assembled band with only a rehearsal on the plane ride and backstage.
John Lennon:“The ridiculous thing was that I didn’t know any of the lyrics. When we did Money and Dizzy, I just made up the words as I went along. The band was bashing it out like hell behind me. Yoko came on stage with us, but she wasn’t going to do her bit until we’d done our five songs….Then after Money there was a stop, and I turned to Eric and said, ‘What’s next?’ He didn’t know either, so I just screamed out ‘C’mon!’ and started into something else.”
Little Richard: “I remember the show that people were throwing bottles at Yoko Ono. They were throwing everything at her. Finally, she had to run off the stage. Oh, boy, it was very bad.”
John Lennon:And we tried to put it out on Capitol, and Capitol didn’t want to put it out. They said, ‘This is garbage; we’re not going to put it out with her screaming on one side and you doing this sort of live stuff. And they just refused to put it out. But we finally persuaded them that, you know, people might buy this. Of course it went gold the next day.”
John Lennon and Yoko’s setlist
Blue Suede Shoes.
Money (That’s What I Want)
Dizzy Miss Lizzy.
Yer Blues.
Cold Turkey.
Give Peace a Chance.
Don’t Worry Kyoko (Mummy’s Only Looking for Her Hand in the Snow)
When I posted a Rockpile song last week… I heard from Sharon E. Cathcart talking about this concert. A few days later Val mentioned this concert on a Little Richard post. I haven’t thought of this concert in years so I thought it would be a great subject.
I did see a copy of this in the 80s at some point. I’ve watched it the last few nights and it is really good. A few facts about the show…The Pretenders debut album was released the day before they played, this was John Bonham’s last appearance on stage in England, and the Wings last concert appearance.
Concert for the People of Kampuchea was a series of concerts in 1979 featuring Queen, The Clash, The Pretenders, Rockpile, The Who, Elvis Costello, Wings, and many more artists. I’ll post the entire lineup at the bottom. These concerts had a great amount of British talent that would not be rivaled until Live Aid in 1985. The proceeds would be directed to the emergency relief work of the U.N. agencies for the civilians in Kampuchea.
The concerts were held at the Hammersmith Odeon in London over 4 days from 26-29 December 1979 to raise money for the victims of war-torn Cambodia (then called Kampuchea). The event was organized by former Beatle Paul McCartney and Kurt Waldheim (who was then Secretary-General of the UN, later Austrian president).
Waldheim initially approached McCartney, hoping his current band Wings would participate. But he also discussed a performance with George Harrison, and then the gossip wheel started turning. The Beatle reunion rumors started to overtake the press for the show itself. Paul had to completely deny it of course. He was quoted saying: “The Beatles are over and finished with,” “None of us is even interested in doing it. There’s lots of reasons. Imagine if we came back and did a big show that wasn’t good. What a drag.” None of the ex Beatles showed…except Paul
An album and EP were released in 1981, and the best of the concerts was released as a film, Concert for Kampuchea in 1980. The album wasn’t released until 1981 and it peaked at #36 and the song Little Sister by Rockpile and Robert Plant peaked at #8.
When Wings’ main set was complete on the last night, McCartney invited a Who’s Who assemblage of British rockers to the stage to play four songs as an encore as the “Rockestra”. The list included three members of Led Zeppelin (Plant, John Bonham and John Paul Jones), Townshend, former Small Faces/Faces bandmates Ronnie Lane and Kenney Jones, Procol Harum’s Gary Brooker, Wings, plus members of Rockpile and the Pretenders, among others.
Here is a complete list.
Piano: Paul McCartney
Keyboards: Linda McCartney, Tony Ashton, Gary Brooker
Guitars: Denny Laine, Laurence Juber, James Honeyman-Scott, Dave Edmunds, Billy Bremner, Pete Townshend, Robert Plant
Bass: Paul McCartney, Bruce Thomas, Ronnie Lane, John Paul Jones
Drums, Percussion: Steve Holley, Kenney Jones, Tony Carr, Morris Pert, Speedy Acquaye, John Bonham
Horns: Howie Casey, Steve Howard, Thaddeus Richard, Tony Dorsey
Vocals: Paul McCartney, Linda McCartney, John Paul Jones, Ronnie Lane, Bruce Thomas, Robert Plant
That is a talented bunch.
McCartney did assemble the above musicians with some more like David Gilmour to record a couple of songs on the Wings Back To The Egg album…So Glad to See You Here and Rockestra Theme.
Here is the complete list of acts who played during the concerts.
The Blockheads
The Clash
Elvis Costello
Ian Dury
The Pretenders
Matumbi
Robert Plant
Queen
Rockpile
The Specials
Wings
The Who
December 26
Queen
December 27
Ian Dury and the Blockheads (with guest Mick Jones on “Sweet Gene Vincent”)
Matumbi
The Clash
December 28
The Pretenders
The Specials
The Who
December 29
Elvis Costello & The Attractions
Rockpile (with guest Robert Plant on “Little Sister”)
As Van Morrison would say…Into The Mystic… this song off of Sgt Pepper was a George Harrison song…and he was the only Beatle on it… This is about as sixties as you can get with the sitar and philosophical lyrics.
This was a brilliant addition to Sgt Pepper to show yet another side to the Beatles.
It’s hard to overestimate how profound of an effect that the introduction to Eastern religion had on George Harrison. Under the name of Sam Wells, George, along with his wife Pattie, vacationed in Bombay, India for six weeks, beginning on September 20th, 1966. At the suggestion of Ravi Shankar, from whom he was going to take sitar lessons while there, he grew a mustache as a subtle disguise so as to ward off any Indian “Beatlemaniacs” that may have been around in the area.
The book Autobiography Of A Yogi really changed his life and mind. It influenced his writing of songs like Within You Without You’ and many others. George started to write this song on a pedal harmonium at friend Klaus Voormann’s home.
During the recording, George was there with Indian musicians and they had a carpet on the floor and there was incense burning.
At George Harrison’s request, they added a small bit of laughter at the end of the song as it faded out to lighten the mood a bit.
John Lennon: “I think that is one of George’s best songs, one of my favorites of his. I like the arrangement, the sound and the words. He is clear on that song. You can hear his mind is clear and his music is clear. It’s his innate talent that comes through on that song, that brought that song together. George is responsible for Indian music getting over here. That song is a good example.”
From Songfacts
Although this song is billed as being recorded by the Beatles, George Harrison was the only Beatle to play on the track. There is no guitar or bass, but there are some hand-drums.
Harrison spent weeks looking for musicians to play the Indian instruments used on this. It was especially difficult because Indian musicians could not read Western music.
This is based on a piece by Indian musician Ravi Shankar, who helped teach Harrison the sitar. Harrison wrote his own lyrics and shortened it considerably.
Harrison wrote this as a 30-minute piece. He trimmed it down into a mini-version for the album.
This was the only song Harrison wrote that made it onto the album. He also contributed “Only A Northern Song” (recorded in February of 1967 as verified by the Anthology 2 album), but it was left off the album at the last minute. It was initially intended to go on the first side of Sgt. Pepper between “She’s Leaving Home” and “Being for the Benefit of Mr. Kite.” >>
This was one of Harrison’s first songs to explore Eastern religion, which would become a lifelong quest. He believed in reincarnation, which helped him accept death in 2001, when he lost his life to cancer.
Oasis covered this for the BBC to celebrate the 40th anniversary of Sgt. Pepper’s Lonely Hearts Club Band.
This is the second Indian classical-influenced song that George Harrison wrote for the Beatles, the first being “Love You To.”
“Now “Within You/Without You” was not a commercial song by any means. But it was very interesting. [George Harrison] had a way of communicating music by the Indian system of kind of a separate language… the rhythms decided by the tabla player.” –Sir George Martin, from the documentary The Material World.
Within You Without You
We were talking About the space between us all And the people Who hide themselves behind a wall of illusion Never glimpse the truth Then it’s far too late when they pass away
We were talking About the love we all could share When we find it To try our best to hold it there, with our love, with our love We could save the world, if they only knew
Try to realize it’s all within yourself, no-one else can make you change And to see you’re really only very small And life flows on within you and without you
We were talking About the love that’s gone so cold And the people Who gain the world and lose their soul They don’t know, they can’t see Are you one of them?
When you’ve seen beyond yourself then you may find peace of mind is waiting there And the time will come when you see we’re all one And life flows on within you and without you
You know that tilt-a-whirl down on the south beach drag I got on it last night and my shirt got caught And they kept me spinnin’ Didn’t think I’d ever get off
Bruce Springsteen – 4th Of July, Asbury Park (Sandy) 1973
My favorite carnival ride ever is the Tilt-A-Whirl. When the carnival came to town I would use all of my tickets to ride on the Tilt-A-Whirl.
After a few years, you would pay one price and get stamped. I would get off the Tilt a Whirl and get right back on again. If I were rich I would get one for the back yard. I am terrified of heights but I love spinning.
Herbert W. Sellner, a woodworker, and maker of water slides invented the Tilt-A-Whirl in 1926 at his Faribault, Minnesota, home.
Sellner got his inspiration in his kitchen. He would put his young son, Art, on a chair on the table and move the table around. If he could make his son giggle with glee, Herb wondered, why not spread the joy?
The spinning ride debuted the next year at the 1927 Minnesota state fair, the same year Sellner Manufacturing opened a factory in Faribault and began a production run that would eventually churn out more than 1,000 Tilt-a-Whirls.
Nearly 700 of the rides are still in use. The oldest known working example is a 1927 model. In 2011, Sellner Manufacturing was sold to a company in Texas, where Tilt-a-Whirls are still being made.
Back in the early seventies, there was a line between rock and country. Now that line is blurred quite a bit but when Paul came to Nashville…it was a huge deal here. Some country artists wondered why a Beatle was coming here.
People here still talk about this visit to the city. I was only 7 and it was one year before I got into the Beatles. I faintly remember the newscasts. On June 6, 1974, Paul arrived and said he chose Nashville for his month’s stay as a rehearsal base for an upcoming tour. He also planned to enjoy himself while here, socializing with the community and horseback riding.
Paul said: “I rather fancy the place,” “It’s a musical center. I’ve just heard so much about it that I wanted to see for myself.”
He recorded songs, went to the Grand Ole Opry, met Porter Waggner and Dolly Parton, ate some Kentucky Fried Chicken, and visited Printers Alley. Paul and Linda lived on a farm in Lebanon that Curly Putman Jr rented…that is where the title Juniors Farm came from. Putman was a songwriter who wrote some huge songs like The Green Green Grass of Home, He Stopped Loving Her Today, D-I-V-O-R-C-E, and many more.
I have a cousin that lives down the road from the farm Paul and Linda stayed at…he got this shot but it’s a little dark. They added some columns since 1974.
As his time in Tennessee came to a close, McCartney told a group of local reporters that he hoped to mount a U.S. tour the following year and that if it happened, Music City would definitely be on the itinerary.
McCartney didn’t come back until 36 years later in 2010 and I finally got to see him.
After Bullitt finished filming, the car was sold to a studio executive in Los Angeles, who kept it briefly before selling it, coincidentally, to a police detective. The officer shipped the car to New York and kept it for about three and a half years before placing a for-sale ad in the back of Road & Track magazine in 1974. His $6,000 asking price was somewhat steep, but Robert Kiernan, a New Jersey insurance executive, and Mustang fan went out to look at it. He bought it for his wife, Robbie to use as a daily driver.
The Kiernans kept the car a secret, mainly to ward off thieves and gawkers. Steve McQueen found out that the Kiernans owned the car and he tried to buy it but insisted that the price had to be right. Apparently, it never was right. McQueen never did buy the car.
Robert and Robbie’s son, Sean Kiernan decided to sell the car in 2020.
It stayed in the garage for decades after it was driven by his mother, Robbie, back in the day to St. Vincent’s parish, where she taught third grade. Her husband took a train to work in New York City. This month, Robbie Kiernan went to the auction with her 7-week-old grandchild.
The car will be inducted into the Historic Vehicle Association roster this year—kind of like the National Register of Historic Places, but for cars. It’s only the 21st car to be so honored.
“I am OK with any price. But I would like it to be the most valuable Mustang ever,” he said… he succeeded.
Before he sold the Mustang, he brought it home in October for his mother’s birthday and put it in the garage where the car had been hidden for four decades.
“I had never prepped the car to sell, so I changed all the fluids and did all the car stuff to it,” Kiernan said. “My sister, my mom, my wife, Sam’s dad came down from Dearborn and sat in the car. That car had been in the garage forever. It was her spot. I think everybody cried at some point or another.”
They all said goodbye to the car….But… hello to 3.74 million dollars to an unknown buyer on January 10, 2020.
Thanks to everyone who has read my “Where Is” posts…here are the rest:
One thing that strikes me about this song is the constant guitar. The song was on perhaps the most famous rock album…or album ever released. Sgt Peppers Lonely Hearts Club Band was released on May 26, 1967. No singles were pull off of this album when it was released.
Paul McCartney: “It’s an optimistic song,” “I often try and get on to optimistic subjects in an effort to cheer myself up and also, realizing that other people are going to hear this, to cheer them up too. And this was one of those. The ‘angry young man’ and all that was John and I filling in the verses about schoolteachers. We shared a lot of feelings against teachers who had punished you too much or who hadn’t understood you or who had just been bastards generally. So there are references to them.”
John Lennon had a bad acid trip during the recording. While doing the overdubs, John began to get very sick. He said, “I suddenly got so scared on the mike. I thought I felt ill and I thought I was going to crack. I said I must get some air.” George Martin took him up on the roof of the studios for air and John started walking towards the edge. Martin panicked, thinking that John would fall or leap off and that would be it. On the roof, when John saw Martin looking at him “funny,” he realized he was on acid. John decided he couldn’t do anymore that night, so he sat in the booth and watched the others record. Paul eventually took him home and stayed to keep him company, and he decided to drop some acid with John. It was Paul’s first LSD experience.
John Lennon: “I thought I was taking some uppers and I was not in the state of handling it. I took it and I suddenly got so scared on the mike. I said, ‘What is it? I feel ill.’ I thought I felt ill and I thought I was going cracked. I said I must go and get some air. They all took me upstairs on the roof, and George Martin was looking at me funny, and then it dawned on me that I must have taken some acid. I said, ‘Well, I can’t go on. You’ll have to do it and I’ll just stay and watch.’ I got very nervous just watching them all, and I kept saying, ‘Is this all right?’ They had all been very kind and they said, ‘Yes, it’s all right.’ I said, ‘Are you sure it’s all right?’ They carried on making the record.”
The idea of “Getting Better” came to Paul McCartney while he was walking his dog, Martha. The sun started to rise on the walk and he thought “it’s getting better.” It also reminded him of something that Jimmy Nichol used to say quite often during the short period when he was The Beatles drummer. This song was a true collaborative effort for Lennon and McCartney, with Lennon adding that legendary part about being bad to his woman. He later admitted to being a “hitter” when it came to women. He said “I was a hitter. I couldn’t express myself, and I hit.”
George Harrison played the tamboura, a large Indian string instrument. It is the droning noise about 2/3rds of the way through.
The string sound at the end was Beatles producer George Martin hitting the strings inside a piano.
Lennon contributed the pessimistic viewpoint, coming up with the line, “It can’t get no worse.” McCartney usually wrote much happier lyrics than Lennon. Lennon revisited this song when he used the lyrics, “Every day, in every way, it’s getting better and better” for his 1980 track “Beautiful Boy (Darling Boy).” This time, instead of taking the cynical side, he was affirming that life does just get keep getting better and better.
This was used in commercials for Phillips television sets in 1999. The living Beatles resent the use of their songs in advertisements, but cannot prevent it because they do not own the publishing rights; Michael Jackson does.
The Beatles had stopped touring by the time this was released. The first time McCartney played it live was on his 2002 “Back In The US” tour. That tour was made into a CD and a 2-hour concert film that aired on ABC and was released on DVD.
This was used in the 2003 movie The Cat in the Hat starring Mike Myers.
Getting Better
It’s getting better all the time I used to get mad at my school The teacher’s that taught me weren’t cool You’re holding me down Filling me up with your rules
I’ve got to admit it’s getting better A little better all the time I have to admit it’s getting better It’s getting better since you’ve been mine
Me used to be angry young man Me hiding me head in the sand You gave me the word I finally heard I’m doing the best that I can I’ve got to admit it’s getting better
I used to be cruel to my woman I beat her and kept apart from the things that she loved Man I was mean but I’m changing my scene And I’m doing the best that I can
I admit it’s getting better A little better all the time Yes I admit it’s getting better It’s getting better since you’ve been mine…
I would have thought this car would have been preserved and never touched after the Kennedy assassination on November 22, 1963…I was completely wrong.
The car started out as a standard 1961 Lincoln that had some upgrades of course. The changes and upgrades made to the car cost nearly $200,000 in 1961. After the changes, the car was known as the X-100.
The car’s special features included the removable steel and transparent plastic roof panels; a hydraulic rear seat that could be raised 10-1/2 inches to elevate the president; a massive heating and air conditioning system with auxiliary blowers and dual control panels; dark blue broadcloth lap robes with gray plush linings and hand-embroidered presidential seals housed in special door pockets; four retractable steps for Secret Service agents; two steps on the rear bumper for additional agents; flashing red lights; a siren; a blue mouton rug in the rear compartment; lamps that indicated when the door was ajar or the steps were out; dual flagstaffs and spotlights; auxiliary jump seats for extra passengers; two radio telephones; and interior floodlights.
I thought the car was retired after the assassination. But no… the X-100 was given a $500,000 redesign, complete with bullet-resistant glass, a roof and 1,600 pounds of armor.
The car got additional modifications in 1967 and was used by Presidents Johnson, Nixon, Ford, and Carter before it was retired in 1977.
It’s now on display at the Henry Ford Museum in Dearborn, Michigan
Bob Dylan released his first album in 1962. He was primarily known as a folk artist. Dylan would play with his acoustic guitar and harmonica.
On Saturday, July 24, 1965, Bob Dylan played the Newport Folk Festival and he played an acoustic set that all of his fans wanted. He received great applause… After that, he walked back on stage with a rock band and plugged in his 1964 Fender Stratocaster and all hell broke loose. His folk fans did NOT want him playing an electric guitar with a rock band. He did receive some cheers but they were mixed with a lot of boos. Dylan’s appearance is one of the most iconic performances of rock and roll.
Even after the boos, he was determined to continue down his electric path. It has been known as the time when “Dylan went electric.”
He toured in 1965 and 1966 with “The Hawks” as a backing band. The Hawks changed their name after the 66 tour and became The Band. During those tours, the boos continued throughout but Dylan pressed on. On the British leg of the tour the boos intensified and in one concert a fan of the old Dylan yelled out “Judas!”
Now back to the electric guitar that Bob played at Newport.
Dawn Peterson thought she owned the guitar, her father was a pilot who flew music acts in the 1960s. He said Dylan left this guitar on his plane. Dawn didn’t believe it until she saw a documentary picturing Bob Dylan on that Newport stage playing a guitar that looked just like her dad’s.
Bob Dylan thought he still had this Stratocaster…but in 2012 on the PBS series History Detectives… The experts matched the wood grain on the guitar owned by Dawn from the pictures of the historical event in 1965. The guitar was a match and it was no doubt that Dawn’s guitar was the one. Also in the guitar case were some of Dylan’s lyrics that he was working on in 65.
Lawyers got involved but it was soon settled that Dawn could sell the guitar.
Indianapolis Colts owner Jim Irsay purchased Dylan’s Newport guitar in 2013 for $965,000 in an auction, making it the most expensive guitar to ever hit the auction block.
Within the case itself was another hidden gem: early-draft lyrics to three Dylan tunes (“Absolutely Sweet Marie,” “I Wanna Be Your Lover” and two others). Those pieces were estimated between $3,000 and $30,000 by the auction house.
The guitar was on display from November 2018 through November 2019 at the American Writers Museum in Chicago as part of Bob Dylan: Electric – an interactive exhibit curated by music journalist Alan Light chronicling Dylan’s impact on American writing and pop culture following the Newport performance.
For my eighth birthday, I was given the Chitty Chitty Bang Bang soundtrack. I loved the movie so much that my mom got it for me. The movie is a classic…and what’s not to like… a flying car…that is all it took to get my attention and the catchy theme song.
Chitty Chitty Bang Bang found fame in the 1968 children’s movie of the same name starring Dick van Dyke. The magical car not only traveled on land but could fly and also float on water. The car was designed by the film’s production designer, Ken Adam.
The original driving car that was used in the film and the final product weighed approximately 2 tons, was 17 feet long, and built on a custom made ladder frame chassis.
The alloy dashboard plate was from a British World War I fighter plane. All of this was built around a modern Ford V6 engine with Automatic transmission. Chitty rolled out of the workshop in June 1967 and was registered with the number plate GEN 11 given to her by Ian Fleming in his novel.
For the 1968 film, six cars were created, this one was the fully functional road-going car.
From 1970 to 2011, the Chitty Chitty Bang Bang car was owned by a man named Pierre Picton, who toured in the car, taking it to various auto shows around the UK. In 2011, the car was auctioned for $805,000.
The acclaimed Lord of the Rings director Peter Jackson purchased the car. Jackson has since used the vehicle to raise money for charities in various capacities. The car is kept in New Zealand where it is registered as GEN 1I, because the original Gen 11 Plate was already taken.
Star Trek was a great part of my childhood. The Starship Enterprise or USS Enterprise was as big of a character as Spock or Captain James T. Kirk.
The USS Enterprise was designed by the original TV show’s Art Director Walter M. Jefferies, with input from series creator Gene Roddenberry. The ship’s registration number, NCC-1701, was inspired by Jefferies’ own 1935 Waco YOC airplane – which had the registration number NC-17740.
Two models of the Enterprise from the original series are still known to exist. The main model measures about 11 feet long, 32 inches high, and weighs about 200 pounds. That is a huge model.
It was made mostly of wood and formed plastic. The two engine pods were made using sheet metal tubes.
A second model, measuring about 18 inches long, was also used for some special effects shots in the series. It was made and fitted with blinking lights.
In 1974, the large Enterprise model was donated by Paramount Pictures to the Smithsonian Institute. It has been on display at their Air and Space Museum.
Walter’s brother John Jefferies owned the smaller model until December of 2001… it was then sold to a private collector.
So if you want to see the large USS Enterprise you will have to go to the Smithsonian. It is the one that appeared in every episode.
Where were you on February 28, 1983? It’s very possible you were watching the final M*A*S*H episode. I was one of the 106 million that tuned in.
Goodbye, Farewell and Amen – The last episode of Mash. The show was so strongly anticipated that commercial blocks were sold higher than for the Superbowl that year… from Wiki… It still stands as the most-watched finale of any television series, as well as the most scripted watched TV show.
Abbott and Costello’s most famous routine. Whether you are a baseball fan or not…it is enjoyable. I wanted to know who wrote the routine or what inspired it.
Some have said “Who’s on First” was based on the names of actual minor leaguers and cup-of-coffee big leaguers such as Honus J. Hoehe (Who), Allie Watt (What) and Isaiah Donough (I Dunno)… but that sounds a little too good to be true.
Most historians believe that it was derived from various early skits performed in burlesque houses including one called “The Baker Scene” (which played on multiple meanings of the word “loaf,” from bread to laziness) and another routine named “Who Dyed” (about a man named “Who”). Various comics and comedy teams over the years expanded on the bit and varied it from show to show. Eventually, somehow, the subject of baseball got involved.
Over the years, usually in obituaries, various comedy writers (including Michael Musto, John Grant, and Irving Gordon) have been credited with the final form of “Who’s On First?” but determining full ownership has proven to be impossible.
Ultimately, one thing is for sure… Abbott and Costello made it their own.
It’s unbelievable how close this famous movie prop came to being lost.
The model used in the film along with some other props were thought to be garbage after the movie finished filming.
Many of the props were kept in a facility called Dollar Moving and Storage. The storage unit was rented by the studio and upon completion of postproduction, the studio decided they no longer wanted to pay rent and ordered everything in storage to be discarded. An employee named Doug W. rescued many of the props from the garbage including the Death Star. In a world before ebay…who knows what was lost.
Doug displayed the Death Star in his home in California for about a decade. Around 1988, Doug moved to Missouri and stored the Death Star at his mother’s antique shop (Sutter’s Mill Antiques, later renamed The Mexican Hillbilly) in Missouri.
Todd Franklin, a Star Wars collector living in the area, drove by the antique shop and was immediately convinced it had to be the original Death Star model. Todd wondered how and why the original Death Star was in Missouri. He made some calls and was convinced it was the one. He was going to buy it but before he got back it was sold to another person named Mark who was the owner of a country and western music show called Star World. Mark displayed the Death Star in the lobby.
In 1994 Todd, his brother Pat, and friend Tim Williams traveled to Star World who was going out of business. The Death Star was being used as a trash can in the corner! Todd made an offer and bought it on the spot. All three owned it and contacted Lucasfilm but they did not want to buy it back.
In 1999 Gus Lopez contacted Todd, Pat, and Tim and negotiated a price. Now, Gus owns the famous Death Star.
Since then, Lopez has had the original Death Star on display in a custom-made case in his home, and he even loaned it to the Museum of Pop Culture in Seattle (though Lopez refers to it by its former name: the EMP (Experience Music Project) Museum) for a five-year stint.
Gus Lopez: “The EMP gave it top billing in the museum with a prominent spot at the center of one of the main rooms. I got a kick out of reading about the Death Star in local tourist literature and walking by the Death Star on display at the museum to hear conversations from people telling their stories about what Star Wars meant to them. And now the Death Star is back home, where I see it every day. And when I look at it, I am still amazed it survived its long journey and is sitting right in front of me.”
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