NoShear

It was interesting viewing a pre-bearded Gerry Mulligan in JAZZ on a SUMMER'S DAY. Though generally associated with the "pastel" of cool jazz, Mulligan looked and sounded all fire engine red in his 1958 Newport segment:

FEAR frontman Lee Ving's appearance in the 1985 take on the PARKER BROTHERS board game recalled vocalist Roger Daltrey's role in The Legacy (1978) for me.

"There's something out there - I just hope it didn't see us!" For me, LOST peaked during the first episode(s) - not unlike its predecessor's child's play:

I isolated only those I experienced contemporarily: 1971- THE OMEGA MAN 1981- THE DECLINE of western civilization 1991- JFK

Never really got into that one. It must have seemed like forever between Pernell Roberts' departure from BONANZA and Trapper John, M.D.: A BONANZA fan friend of mine recently mentioned that had Roberts hung on to BONANZA a bit longer, he wouldn't have denied himself some serious residuals.

As with viewing the MASH series, I find myself being overly conscious of the characters' dialogue within the show. It's arguably a distraction for works of screen fiction.

THE WEST WING staff all sound like they possess a political science degree with a minor in screenwriting.

It's interesting how topical Billy Wilder could get in his scripts: The Diners' Club in The Apartment (1960) , and I'd forgotten about the(n) upcoming 1968 Summer Olympics reference in The Fortune Cookie - one of several funny lines delivered by Walter Matthau in the movie!

If I correctly recall, look for film of Brown Jim Brown scoring a touchdown in The Fortune Cookie (1966)..... Jim Brown was soon doing some non-stock footage running that year of '66 for The Dirty Dozen (1967), prematurely ending his professional football career.

Someone informed me that she passed in Woodland Hills so, naturally, I thought of the Motion Picture & Television Country House and Hospital. From that down note, Dargo and jamesjazzguitar, I hope your 2021 is much more upbeat...

As to my previous Vangelis-esque "Initial Machine Experiments" submission, slaytonf, someone already had cleverly used it as soundtrack audio on the following YouTube upload: https://youtu.be/haMUeYamV0c

The sole survivors of an Indian nuclear holocaust inhabit a Caribbean island and anxiously await the second coming of Haile Selassie.

Though I was symbolically in the shallow end of the Braddock pool when The Graduate was originally released, I found the 1967 film very easily relatable when viewed in a mid-1980s college class: Wayfarer prep and Woodland Hills status... I wonder if the Eighties set was even more aimless than the movie's central character. Draft deferments gave young men added direction, lest one end up on Cinderella liberty at the San Francisco Zoo & Gardens! "At the Zoo":

I was speaking more to WHO went to see the MOVE and the group's presumed target crowd . I can hear why you're lumping their freakbeat tunes into the bubblegum set.

Harold Wilson was the MOVE's preferred game to my knowledge: Besides the "Flowers in the Rain" promotional scandal, the group's wannabe the WHO stage experience extended to destroying an effigy of the(n) Prime Minister!

Corny Country gets Flower Powered:

MOVin' with the crowd: I figured the interior of the RICKY-TICK was studio but surprised that even the exterior street scene was shot at Elstree Studios as well.

I think you've got the wrong demographic for the MOVE proper: There's was the latter day Swinging London-****-UFO Club set.

When Warren Beatty's DICK TRACY was happening in 1990 some television stations revisited The DICK TRACY Show - the early 1960s cartoon that had previously been labeled as politically incorrect, and it was met with renewed resistance.

My DIVER DAN doll:

Here are a couple of brief reads about the MOVE that may or may not have escaped your rock literary eye, Vautrin - the first is from Nik Cohn which is something I read about the MOVE when I was a teenager: And, on the subject of bandwagon hopping which was the MOVE, there is also the following caption from an unknown writer for that familiar photo of the MOVE that read something like this:

With its diamond chasing and freed "gorilla" antics, "AFRICA SCREAMS" cried out to a Diamonds Are Forever segue but, alas, a more suitable-for-TCM pairing of films flanked the Abbott and Costello romp.

It has the distinction of being the first record spun on the BBC's RADIO 1.