May 26, 2019

Elton John Biopic Movie "Rocketman" Opens Worldwide

You don't have to be a fan of Elton John to know his music; even the most pop culture-oblivious person knows songs including "Bennie and the Jets," "I'm Still Standing", "Crocodile Rock" and of course, "Rocket Man". That's why the biopic movie "Rocketman" which opens this week is so anticipated.

Of course, Elton John is the public half of a genuine creative duo, with the other half being his longtime lyricist Bernie Taupin (actor Jamie Bell plays Bernie Taupin in the movie). The duo collaborated on more than thirty albums, even if the Rocketman was arguably the public persona. A great deal is riding on the film "Rocketman's" success.


As the New York Times observed (see its review at https://nyti.ms/2EfoGj5 for details): "Multiple movie studios passed on the opportunity to make "Rocketman," which is an R-rated musical biopic about music legend Elton John. They said it was too gay. Too expensive. Too reliant on an unproven star.

But one film company, the down-on-its-luck Paramount Pictures, saw the audacious project as a chance to prove something to both Hollywood and Wall Street — namely that, to borrow a reference from Sir Elton, it's still standing.

Now comes the moment of truth."

The New York Times adds that "Rocketman" arrives in theaters on May 31, 2019 as perhaps the most ambitious movie of Hollywood's summer season, a four-month period that typically accounts for 40% of annual ticket sales and relies overwhelmingly on franchises. "Rocketman" stars Taron Egerton and the movie cost an estimated $120 million to make and market worldwide. "Rocketman" trails glitter — a million Swarovski crystals adorn the costumes and eyewear — and even depicts gay sex, a first for a major movie studio.

Taron Egerton, 29, stars as Elton John and is perhaps best known for his role in the "Kingsman" action comedies, but he did all of his own singing, reinterpreting classics like "The Bitch Is Back." There is also intricate choreography (one stylized scene finds an entire London neighborhood dancing in formation) and an orgy musical number set to "Bennie and the Jets." Aside from Egerton playing the Rocketman himself and Bell playing Bernie Taupin, actor Richard Madden plays Elton John's one-time manager and lover.

It was very well-documented that virtually all gay imagery was downplayed in "Bohemian Rhapsody," (catch my review for that movie HERE) sometimes to the dismay of many people eager for Hollywood to prove it is less timid about the topic of homosexuality. Homophobes baselessly assert that exclusion of all reference to Freddie Mercury's sexual orientation was the main reason the film succeeded.

In reality, his sexual orientation was irrelevant. The timing was right for "Bohemian Rhapsody" and the same thing can be said for "Rocketman". The band Queen still resonated with a significant audience (making it relevant to Baby Boomers, Gen Xers and even some younger audiences who have heard of these artists on the radio and on popular TV shows like "Glee"), and more than a few of whom are still old enough to remember when they were still topping the Billboard charts. "Bohemian Rhapsody" became last year's blockbuster Queen biopic, which was nominated for the Academy Award for Best Picture last year among others, and actually won four Oscars. But the gay part in that movie was largely unaddressed.

Freddie Mercury was undeniably gay; in fact, he died from AIDS in 1991 which he'd contracted from unprotected male-on-male sex. But Freddie Mercury was not a solo act like Elton John was; he was merely the front-man for a band. Much of the downplaying of Mercury's sexuality was simply attributed to the existing Queen band members' desire to focus on a story more about the band as a whole, rather than being exclusively about the band's flamboyant front-man.

But unlike Freddie Mercury, Elton John (who is also gay) is still very much alive today and he is also one of "Rocketman's" executive producers, therefore he has been very influential in this movie's story, casting and direction among other things. That said, although a few fear that any depiction of same-sex relationships in "Rocketman" could potentially limit interest in more conservative parts of the U.S., most believe those concerns are vastly overblown, even though the contemporary romantic comedy "Love, Simon" did struggle more than rival films to reach theatrical coverage parts of the country in 2018 because it ventured a kiss between teenage boys.

But Elton John told The Mirror "I'm proud Rocketman is the first major studio film with a gay love sex scene in it. He says the scene was a very, very important part of his personal life. He added "I was a virgin until then [age 23]. I was desperate to be loved and desperate to have a tactile relationship," adding that if they were going to tell his story in the film that it had "to be honest."

He also added "If I'd left it out, I'd have felt I was cheating people. I'm so glad it's in there because I am a gay man and I didn't want to airbrush it under the carpet. If they don't like it, I understand, but it's part of who I am."

However, because the target audience for most movies skews heavily twenty-somethings anyway, many of whom have little issue with LGBT people and ask what the big deal is, it's likely a bit over-simplistic to suggest "Rocketman" won't find audiences even in red-state America. Elton John is not closeted. And national theater chains aren't as afraid of showing such movies as independent theaters once were, and the latter have largely fallen by the wayside in favor of chains. Financially, outside the U.S., "Rocketman" is expected to generate enormous ticket sales in countries like the UK and most of the English-speaking world as well as Western Europe, even though the film will likely not even make it past Chinese censors without severe sanitization, something that executive producer Elton John is likely to deem a nonstarter.

It's worth reminding people that "Bohemian Rhapsody" actually had the seal of approval from all of the surviving members of Queen. Although that film switched producers and lead actors several times before its ultimate release, in the end, the Queen band members all approved. Actor Rami Malek was ultimately selected as the actor, and he is credited with helping to make that film a success.

"Rocketman" has a similar blessing from Elton John. The movie "Rocketman" is also directed by Dexter Fletcher, who also took over the reigns for "Bohemian Rhapsody" once Bryan Singer left. The story for "Rocketman" — developed by the rocket man himself — but very much like "Bohemian Rhapsody" has gone through a number of directors (Michael Gracey) and lead actors (including both Justin Timberlake and Tom Hardy) since it was first announced in 2012.

John and Taupin at the 27th Annual Elton John Aids Foundation Academy Awards viewing party, West Hollywood. Photograph: Michael Kovac/Getty Images for EJAF
Beyond Elton John's sex life, however, perhaps the biggest focus is his downfall into substance abuse, and his recovery from that. Indeed, the movie opens and closes with Elton John speaking from rehab. His subsequent re-emergence as a successful artist is really the central story of "Rocketman". That element is arguably a by-the-numbers biopic focus, although many other biopics feature a tragic downfall without a benefit of recovery and resurrection, which is a somewhat unique perspective for "Rocketman". That recovery and resurrection is what Elton John himself wishes to focus on for "Rocketman".

However, the biggest question is whether the formula used for "Bohemian Rhapsody" by choosing a relatively less-known actor to lead and use of the same director will lead to similar success for "Rocketman"? Paramount certainly hopes so, and the friendship developed between Elton John and actor Taron Egerton who will play him in the movie suggests that "Rocketman" could see similar commercial success (even if the critical reception by the Academy is highly dependent on what else is running in cinemas during the year).

The trailer, as well as two brief interviews with actor appears below, or by visiting https://bit.ly/2Xg5Orq.



See also:

https://ew.com/movie-reviews/2019/05/23/rocketman-movie-review/

https://www.advocate.com/film/2019/5/22/elton-john-proud-rocketmans-landmark-gay-sex-scenes

April 23, 2019

Murder, They Wrote

Before there was a television show known as "Murder, She Wrote" (the long-running CBS TV show that starred Angela Lansbury for a now-unimaginable 12 seasons) on U.S. broadcast television which was created by Richard Levinson (who unexpectedly passed away at age 52 in 1987) and William Link, there was at least one prior trial effort.

A one-season TV show known as "Ellery Queen" which ran on NBC from 1975-1976 was that trial, although there were some relevant lessons learned which the duo used to help make "Murder, She Wrote" much more successful than their first whodunnit effort. In some respects, "Ellery Queen" itself was a reboot. The long-defunct old DuMont Television Network ran a series for three seasons from 1950-1952 called "The Adventures of Ellery Queen". But the 1975 NBC reboot was more recent, and the original filmed recordings managed to make the migration to digitization (albeit, just barely), whereas the entire original 1950's series did not (at least not it its entirety, although apparently some clips exist on YouTube https://youtu.be/hRfv-cK4jI4 and its possible that old celluloid copies of those may still exist someplace, although quality tends to deteriorate over time so exactly what condition those might be in is anyone's guess).

The air time for "Murder, She Wrote" also contributed to its success: it aired on Sundays at at 8:00 PM (immediately following the ever-popular news magazine program "60 Minutes") since its inception in 1984, with only the final season (airing in 1996) being mysteriously moved to Thursdays to go head-to-head against "Mad About You" and "Friends" which ran on rival network NBC, and at that point, Ms. Lansbury opted to resign. She had worked the series for more than twelve years, and her close personal friend Bea Arthur had recently quit "The Golden Girls" so the time felt right for her to leave the show.

Perhaps not so coincidentally, during the twelfth and final season of "Murder, She Wrote", there was an episode titled "Murder Among Friends," where a TV producer is killed in her office after planning to get rid of a member of the cast of a fictional television show called 'Buds'. Complete with a coffee shop setting remarkably similar to the one featured on the sitcom "Friends" and snarky repartee, 'Buds' was a not-so-subtle stab at "Friends", coming at a time when "Murder, She Wrote" was placed right against the then-hip ratings juggernaut.

Critics were not especially kind to "Ellery Queen" when it was released. Richard Schickel, reviewing the series at its premiere in September 1975, called it "a garage-sale period piece"; he said "the presence of Guy Lombardo, some ancient autos and the oldest of detective story conventions (all suspects are assembled in one room to await the results of the detective's ratiocinations) are supposed to evoke nostalgia. They do not—and the format's stasis is numbing."'

NBC, which ran the original "Ellery Queen" on television evidently agreed, and cancelled the series after its one-season run.

Following the cancellation of the original TV show "Ellery Queen", Levinson and Link wanted to rework the Ellery Queen concept, so they collaborated with Peter S. Fischer, one of the original producers of the "Ellery Queen" show, which resulted in "Murder, She Wrote", which went on to became one of the most successful television mystery series ever produced.


Like the character Jessica (Beatrice) ("J.B.") Fletcher in "Murder, She Wrote", the character of "Ellery Queen" was also a mystery writer and amateur detective loosely based upon a long-running book series and magazine of the same name, only that series was set in New York City in the years after World War II ended (specifically, 1946). The series starred Jim Hutton as the titular character, and David Wayne as his father, Inspector Richard Queen.


Angela Lansbury accepted the role of J.B. Fletcher on "Murder, She Wrote" in part, because she felt the series was appropriate for an accomplished actress of her age. She was in her fifties at the time, but had a very long and successful acting career on Broadway (she co-starred with Bea Arthur in the show "Mame" and both actresses won Tony Awards for their performances as Mame Dennis and Vera Charles, respectively, the start of a life-long friendship), and did a fair number of movies, including a combination live-action and animated Disney movie named "Bedknobs and Broomsticks" (she would do the voice of a character in the animated movie "Beauty and the Beast" for Disney years later).

Among the other notable similarities of the two murder mystery series' was regular guest stars. In some respects, due to the longevity of "Murder, She Wrote", there were nearly as many guest stars as shows like Aaron Spelling's "The Love Boat" and "Fantasy Island", though not the same number in every episode. The predecessor "Ellery Queen", for example, featured: Don Ameche, Dana Andrews, George Burns, Troy Donohue, Eva Gabor, Roddy McDowell, Ed McMahon, Sal Mineo, Donald O'Connor, Vincent Price, Cesar Romero, Walter Pidgeon, and Barbara Rush as guest stars. In fact, most of those guest stars are now gone as well, which only adds to the sense of going back in time with each episode of "Ellery Queen". "Murder, She Wrote" featured even more guest stars given its 12-season run on TV.

While "Murder, She Wrote" and "Ellery Queen" shared more than a few similarities, "Murder, She Wrote" was still  a rather creative re-imagining of the central character of Ellery Queen as a small-town female, the now much-loved character of Jessica Fletcher. The character Mrs. Fletcher was a retired high school English teacher turned mystery-writer brilliantly portrayed by Angela Lansbury, who was also in her fifties at the time the show aired, and she was able to more effectively translate Levinson's and Link's vision better than a dominant male detective really could, which was a key reason for its success.

Another was setting "Murder, She Wrote" in modern times in the fictional town of Cabot Cove, Maine (in reality, the external scenes of the show were shot in the town of Mendocino, in northern California, even though the vast majority of the show was actually shot in a Southern California television studio; the house Jessica Fletcher supposedly lived in is a bed and breakfast where guests can actually stay known as Blair House) and rather than a retrospective look-back in time as "Ellery Queen" was, the "Murder, She Wrote" series was supposed to be set in modern times, which also made the series somewhat more relevant to television audiences.

Aside from changing the gender of the main character, another key change was to have the central character to explain the outcome to viewers, rather than to challenge to the viewer to try and solve the murder themselves. In many ways, passive entertainment was far more relevant for television than in print. People most frequently watch television to wind-down, and they want the lead characters to do the work, not do the work themselves, although for the few viewers who are sleuths, all relevant clues must be provided in the script to enable them to solve the crime at home if they wish.

That said, although I am slightly more fond of the Angela Lansbury portrayal as J.B. Fletcher in "Murder, She Wrote" than I am of Jim Hutton's portrayal as Ellery Queen (I definitely enjoyed David Wayne's portrayal of his father, Inspector Richard Queen), Mr. Hutton's acting was fine, but I think the retro-staging of the show was a more limiting factor. Its not that Mr. Hutton or Mr. Wayne didn't live up to the characters, but the era they were playing in simply wasn't as entertaining or credible as the more modern take of Ms. Lansbury's were. All of the actors and actresses (including the many guest stars) in both shows were quite good; some even better than great.

Now, although the entire twelve-seasons of "Murder, She Wrote" has been long digitized and sold on DVD and various other streaming platforms, it also continues to air on cable television as I write this, while "Ellery Queen" almost never made it to digitization (almost being the word to note). The series has occasionally run on cable including on TV Land, but the limited number of episodes (26 to be precise) made it somewhat more difficult for network programmers to schedule because some alternative needs to exist once all the "Ellery Queen" episodes have run.

But in September 2010, the "Ellery Queen" series was finally released on DVD by the Canadian company E1 Entertainment, and became available to U.S. viewers after a very long television hiatus. The original content is still owned by NBC Universal, but it had less interest in commercializing an old property so it sat in its vaults. Although "Murder, She Wrote" remains a popular mainstay on the cable network Hallmark Movies & Mysteries, as well as on Chicago-based super-station WGN and even on other cable networks and a few independent television stations, currently, none are airing the "Ellery Queen" Mysteries from 1975. But while the DVD release is still available, some public libraries also have the set in their collections for borrowers to watch. But, I also see that its available on streaming services including Amazon and TVGuide.com, so the content owners are definitely taking advantage of its more recent digitization, so its worth investigating those, too.

As noted, you can see some very obvious overlaps between the two shows, including in the show's introductions. Both include old typewriters to symbolize the lead characters' occupation as mystery writers (although in later episodes of "Murder, She Wrote", we do see Mrs. Fletcher migrating to a word-processor (for an unrelated post I did on vintage typewriters and modern keyboard attempts to simulate the user experience of those, visit HERE). But, apparently the overlap did not end there.

Rather than bore my followers with all that, I created a short playlist which includes the advertisement created for the DVD release of both "Ellery Queen" and one done for the eighth season of "Murder, She Wrote" followed by an interview with co-creator of both shows William Link discussing "Ellery Queen" and another discussing "Murder, She Wrote". That playlist can be viewed below, or by visiting  the link to the playlist I created at https://www.youtube.com/playlist?list=PLfSNYYNU6TvG3GoE--sqrPS-ia_pVMt4v:


See also:
http://mentalfloss.com/article/503317/9-mysterious-facts-about-murder-she-wrote

April 4, 2019

The New Zoo Revue

As the National Geographic Channel's television special "Generation X" from a few years ago noted in its opening segment of the series, to get to the world that shaped Generation X as a group of people, you kind of have to step back to the late 1960's when Baby Boomers were being drafted to fight a war in Vietnam.  The result was widespread war protests among young Boomers, while people like me were at home, watching it happen on television (in between content better suited for kids, such as cartoons).

Among the shows we watched was the long-running CBS children's show "Captain Kangaroo" which ran from 1955 until 1984. That show was conceived and the title character was played by Bob Keeshan, who based the show on "the warm relationship between grandparents and children". Aside from Captain Kangaroo, I've already written about a local show called "The Magic Garden" which I watched and enjoyed. Some kids of that era also watched a syndicated children's show called "Romper Room". "Romper Room" was never a show I watched; I felt it was condescendingly stupid for children, and my attention went elsewhere.

About the only other dedicated children's show of that time was another syndicated television program called "New Zoo Revue". Doug Momary began working as the creator of what became an award-winning syndicated, half-hour children's television show that ran from 1972-1977. Aside from being writer/producer, Doug was also one of the show's human hosts. Indeed, he reportedly wrote over 600 songs for 195 different episodes. His co-host was a woman by the name of Emmy Jo (Emily) Peden, who was described in the show's theme song as Doug's "helper" but not his girlfriend or wife.
In reality, Doug and Emmy Jo were young newlyweds at the time (back in 1972; many kids [like me!] didn't even realize they were married). In fact, young viewers of the show had little reason to suspect there was any romantic involvement between the two, since I don't recall them ever acknowledging that fact or showing any overt affection for one another on camera; instead, the show aimed to teach kids such basic principles of getting along with others, respecting the community and oneself, and doing the right thing. Aside from the two human co-hosts, the show featured costumed full-bodied puppet characters, primarily a shy, female hippopotamus with a Southern accent named Henrietta Hippo, a wise if cranky old male owl named Charlie the Owl , and a fun-loving male frog named Freddy the Frog whose behavior most resembled that of a child's. There were also a handful of human guests, among them Mr. Dingle, who was played by Chuck Woolery, a man perhaps better known as a Hollywood game-show host ("Love Connection" anyone?!). The series also hosted several celebrity guest stars during its run including Henry Mancini (a musician), Jim Backus (a well-known actor, perhaps known best as the man who played millionaire Thurston Howell III on "Gilligan's Island" due to incessant re-runs) and JoAnn Worley (perhaps most famously as a cast member on "Rowan & Martin's Laugh-In" from 1968-1973, but also appeared in many other movies and television shows over the years).

Freddie the Frog was voiced by Joni Robbins, Henrietta Hippo was voiced by Larri Thomas, and Charlie the Owl was voiced by Bob Holt. Other characters included Frieda the Frog, Mr. Dingle (Chuck Woolery), an elderly postman, storekeeper and jack-of-all-trades, and Mrs. Goodbody (Fran Ryan), a nosy neighbor who serves as an advice columnist for The All New Zoo Gazette.
The woman known as Emmy Jo was basically a personification of a young, hippy woman, not too dissimilar from Nancy Sinatra who gained fame for the 1966 hit single "These Boots Are Made For Walkin'" ... she was attractive, and she wore very short mini-skirts that continued to be in fashion well into the early 1970's -- often with high go-go boots (a style of women's knee-high, square-toed fashion boots with block heels that were very popular in the 1960's and continued into the 1970's).

Meanwhile Doug, who was really the creative talent behind the series, was kind of a dork with a bushy, porn-star looking mustache (which was the Baby Boomer version of Millennial hipster men's fascination with beards) and unfashionable clothing that were made of polyester in plaid or other ugly colors, such as the faintly mournful "autumn" color palette - dark orange, oxblood, copper, brown, harvest gold, avocado green of that era. He was kind of a dork, even if the show was the product of his personal creative genius. Since "New Zoo Revue", Doug has gone on to become the founder and CEO of a company called Laguna Productions now based in Las Vegas, NV which produces video content (TV commercials, and/or other video content for clients). When the business began, it was based in California.

Doug began working as the creator and co-star of what became an award-winning children's hit series "The New Zoo Revue". Doug married Emmy Jo (Emily) Peden in 1972, just a few weeks before they got the go ahead for the show. "The New Zoo Revue" was actually filmed in Hollywood during the early 1970's (1972-1975; reruns ran in syndication until 1977), and Doug was the sole writer of over 190 episodes and some 600 songs.  All told, the show reached over 3 million children every day.  Doug and his wife Emily starred in the series singing and dancing along with three giant animal characters, with the idea of teaching children positive messages in an entertaining fashion.

Of note is the fact that Doug and Emmy Jo have (impressively) been married since 1972, which means they will celebrate their 47th wedding anniversary in 2019. That's really quite impressive given how many other people in the children's entertainment space of that era ended up divorced. Indeed, Gen X kids were scarred by widespread divorce of their parents, leaving many to become "latch-key" kids who had no parents at home when they finished school, unlike the Baby Boomers who typically came home to stay-at-home mothers.

The couple's company Laguna Productions maintains an account on Vimeo, and they include episodes of the "New Zoo Review", one of which can be watched below, or by visiting https://vimeo.com/317029596:

Optimism from Laguna Productions on Vimeo.

Now, I should note that when home videos started to emerge in the 1980's, a more colorful outtake from this show surfaced. While clowning around on the set, Freddie the Frog and Charlie the Owl were filmed dropping the F bomb and displaying acts of un-edited crudity while the off screen cast and crew laughed it up.

Before watching the YouTube clip below, or by visiting https://youtu.be/G9ySgnifxeQ, be forewarned that frog and owl use some pretty vulgar language. It definitely paints a different, NOT made-for-TV image for those of us who grew up watching the show as kids, proving that real, human actors were in those animal costumers (as if there was even a question about that?)!



As noted, after "The New Zoo Revue" ended its run, the couple left Hollywood where the original show was filmed and they moved to the Sacramento area (you know, the unglamorous capital of California, which although a mere 45 minutes from the Bay Area, is about 7 hours from Los Angeles, but Sacramento shares more in common culturally with the Central Valley town of Fresno than it does with San Francisco, except that as the seat of the California state government, it's much more affluent than Fresno is -- the area is also home to the university U.C. Davis).

As noted, the couple began a film and video production company called Laguna Productions around 1984 or 1985, which handles everything from concept to completion on a contractual basis, and the business has proven itself to be quite successful, enduring when many similar firms close shop in a few years. The couple relocated their family and business from Sacramento to Las Vegas around the turn of the new century.  Meanwhile, behind the scenes, Emily went back to school and earned her master's degree in marriage and family counseling.  She did that for a while, but she now works as Laguna's VP of Finance.  Although the couple is certainly now eligible to retire (Doug is age 72 and Emmy Jo is age 75 as of 2019 -- who realized she was 3 years older than Doug? She certainly looked much younger than he did!), their company enables periodic breaks from work, and they have a staff who does many of the day-to-day operations now.

That said, the series "The New Zoo Revue" operated in a big space that was pretty devoid of much genuine competition back in 1972.  Children's programs -- or those that were called children's programming, but were really just re-purposed adult programming, such as old movie-house cartoons like the black and white Max Fleischer versions of Popeye the Sailor Man, or Felix the Cat (both of which ran in early morning hours back in those days); Warner's ever-popular Looney Tunes ran for a slightly older audience in the afternoon; those were popular because they were in color, whereas many episodes of Popeye and Felix the Cat were not). Others included cartoons such as Total Television's battery of cartoons (including Underdog, Klondike Kat, Tennessee Tuxedo and His Tales, Go Go Gophers, Commander McBragg and others), as well as The Adventures of Rocky and Bullwinkle and Friends, Tom and Jerry, and the Walter Lantz Productions such as Woody Woodpecker, Terrytoons as well as MANY others from the Hannah-Barbera Productions which are now folded into Warner Brothers following the deaths of the two founders in the early 2000's.

Anyway, "The New Zoo Revue" was very successful back in the day.  It filled a need for educational/non-violent programming as new legislation required, and it also entertained children with its odd, giant animal characters.  They weren't quite the old puppets found on other children's series (think of Mister Rogers Neighborhood as one such example), but many of their characters were definitely child-like (Freddie, for example).

The hosts Doug and Emmy Jo served a role as the "adults" in the village, and they kept peace among the animal cast and taught viewers the lesson of the day.  Each show had songs and the cast of puppet-like animal characters to impart lessons on patience, manners, courtesy, dealing with others, and other topics that remain as relevant today as when originally broadcast. That said, I don't see re-runs of "The New Zoo Revue" on cable these days, possibly because on-demand has changed how kids are entertained. But for its time, "New Zoo Revue" filled an important role, and as an adult who grew up with the show, I look back at it rather fondly today.

For the record, although the series has left the broadcast airwaves years ago, in 2004 there was news (see archive on the old TVShowsonDVD.com) that Season 1 containing 59 episodes of the show was released on DVD. The company that released the set known as BCI Eclipse was closed down by its parent company, but there's always eBay and Amazon sellers, so you can probably still buy it, although it may cost you due to scarcity value. Another option: try visiting your local, public library which may have it to borrow (you have to bring it back, but really: do you want to OWN this?). Its unclear whether they have since migrated it to streaming platforms (although Laguna Productions has already published a fair number on the Vimeo platform), but one never knows!

See also:
http://dontparade.blogspot.com/2006/01/new-zoo-revue-goes-blue.html

http://mrcollinsgrindhousemovieblog.blogspot.com/2011/04/new-zoo-revue.html

http://www.retrospace.org/2008/12/ode-to-emmy-jo.html

http://www.retrospace.org/2008/11/new-zoo-revue-for-mature-audiences-only.html

April 3, 2019

Crap from the Past Radio Show

Back in 2012, I did a posting entitled "Have You Never Been Mellow", which was about a local radio show that had been saved to the Internet Archive. That show ran on the Minneapolis radio station KLBB (1400 and 1470 AM) from April 1998 to May 1999 and was hosted by two DJ's: Chuck Tomlinson and Joel Stitzel. The show ran initially on Saturdays from 9-11 PM, then later on Sundays from 8-10 PM. The whole theme of that show was playing retro-music from the 1970's to the 1980's (hence the show was named after the 1975 Olivia Newton-John hit "Have You Never Been Mellow").

Anyway, it seems that the Minneapolis-St. Paul area has always enjoyed radio programs featuring older music as that show proves. "Have You Never Been Mellow" may have ended in 1999, but the idea of the show continues in another Twin Cities radio station which is what today's post is about.

The show I'm referring to is called "Crap from the Past" which airs on the Minnesota community radio station KFAI https://www.kfai.org/program/crapfromthepast/ (90.3 FM in Minneapolis and 106.7 FM in West St. Paul). The show currently airs on Friday nights from 10:00 PM to midnight. "Crap from the Past" is hosted by DJ and radio personality by Ron "Boogiemonster" Gerber.

While the show's name is a bit cheeky, the content of the show is hardly irreverent. The station itself uses block programming, hence "Crap from the Past" is one of the station's more enduring programs (having aired since 1992 although it began in the town of Rochester, Minnesota, but has held its Friday night time slot since October 2002, and has been syndicated worldwide since November 2002). Since August 2017, "Crap from the Past" has been a full, 2-hour show (having been expanded from an original length of 90 minutes).

As noted, its now syndicated too, running in Tuscon, Arizona and has aired on about a dozen different stations over the years, including on stations in Germany, the UK, Singapore (in addition to a few Internet radio streams). Its most loyal and long-standing affiliate is a station in New Zealand, where the show continues to air regularly.

"Crap from the Past" is even "branded" with its own distinct logo and website at http://www.crapfromthepast.com/. The logo (shown below) uses the same typeface and looks a lot like the trademarked Compact Disc Digital Audio logo that was used for the 1982 introduction of the compact disc (or CD) which was co-developed by Philips Electronics and Sony. The show's website is very reminiscent of early internet websites before html programming enabled more dynamic graphic designs to be part of modern websites.


Show logo aside, the Minnesota community radio show "Crap from the Past" describes itself as "a pop music radio show for people who already know plenty about pop music." Or, simply, "a graduate-level course in pop."

Naturally, with its innovative retro-themed content, the show is also saved on Internet Archive (see https://archive.org/details/crapfromthepast for the Internet Archive's page), the content is certainly the type that has found a loyal audience. The links above provide several places to find and listen to old episodes of "Crap from the Past" so I won't repeat them again. The host admits that he's a middle-aged dad in his fifties, which perhaps not ironically describes me, too (minus the dad part). Still, there are evidently enough people in the Twin Cities area to drive a 2-hour show with this content for 2 decades (27 years to be precise), plus, as I noted, a predecessor show that ran on another Twin Cities show even before that suggests the content is far from dead yet. The name "Crap from the Past" is perhaps fitting. Have a listen to the show that aired on March 1, 2019 below, or by visiting https://archive.org/details/cftp-2019-03-01.

March 21, 2019

Vicki Lawrence Re-Emerges on TV as Margaret on "The Cool Kids"

A while back, I shared in a post (see HERE) I did about the "Dead Celebrities Cookbook" (and its sequel "Christmas in Tinseltown"), mentioning that I visited Vicki Lawrence's personal website after buying the DVD set of "Mama's Family", where I encountered a recipe which she shared from another dead celebrity: the late Dinah Shore. The recipe was good, but comedienne and actress Vicki Lawrence is on another career high as of late. She stars as the character Margaret in the new sitcom on Fox television (the broadcast network now owned by Disney) called "The Cool Kids" which premiered in September 2018. The series co-stars Martin Mull, David Alan Grier and Leslie Jordan.


"The Cool Kids" follows three male senior citizen friends at Shady Meadows Retirement Community (a joke on the show was that Allison, the head of Shady Meadows Retirement Community told the residents that they were in Shady Meadows voluntarily, to which they responded "We are? Our kids never told us that!") who are the top dogs until they're blown out of the water by the newest member of the community, a female rebel named Margaret who's ready to challenge their place – it's kind of like high school, only with 70-somethings. In case you hadn't guessed it, the female rebel is played by Vicki Lawrence (age 69 as of 2018).

The cast of "The Cool Kids": Martin Mull, David Alan Grier, Vicki Lawrence, and Leslie Jordan at the 2018 Fox Network Upfront at Wollman Rink, Central Park on May 14, 2018 in New York City.

"The Cool Kids" turned into a sleeper-hit for the Fox broadcast television network, opening to impressive ratings drawing over 9 million viewers, making it the most-watched new series launch on Fox since "New Girl" debuted back in 2011. That initial success prompted the network to order a full season for the show after its trial run.

Vicki Lawrence told the entertainment magazine Vulture that "They were casting this right when we were doing the 50th anniversary of the Burnett reunion. I didn't want to go [to the audition], because I just wanted to go over to CBS and see Carol, hang out, see all my old friends, and visit with all the cool guest stars she was gonna have on there. I could not be bothered. My agent kept calling me saying, 'But this is perfect for you!' And I went, 'It's cute, but really, I'm so tired of going to auditions.'" Of course, she was ultimately persuaded to join the cast.

Vicki Lawrence's Entertainment Career Resume Is Surprisingly Short Due to the Longevity of Her Work

Aside from Vicki Lawrence's 11-season tenure on the ever-popular "The Carol Burnett Show", she has surprisingly few television credits to her name except for the long-running spin-off from that show called "Mama's Family" (I wrote about "Mama's Family" HERE) which ran for six seasons over a seven-year period. That show was produced by Joe Hamilton and began on network television, but was taken off the air after a two season run on NBC, but was subsequently rebooted even more successfully in syndication with a number of modifications, running for six seasons from 1983-90.

Vicki was just age 24 when she first played the abrasive, Southern senior citizen matriarch character of Thelma Mae Crowley Harper, better known as simply Mama, which first emerged on "The Carol Burnett Show" back in 1974. "The Family" as it became known on "The Carol Burnett Show" was so consistently popular that it became one of the recurring skits to endure on the Burnett Show. In "The Family", Carol Burnett played the main character of Eunice Harper Higgins (an emotionally-needy character who often goes off on rants about her lot in life), while Harvey Korman played Eunice's husband Ed Higgins; Betty White occasionally played Eunice's snobby older sister Ellen Harper-Jackson (at least in a few episodes both on "The Carol Burnett Show", as well as on the network television run for the spin-off) along with guest-stars such Roddy McDowall (who portrayed brother Phillip in nearly as many episodes of "The Family" as Betty White did the character Ellen, although Betty White played in both "The Carol Burnett Show" and the network run of "Mama's Family"), Tom Smothers, Alan Alda, William Conrad, Jim Nabors, Maggie Smith, Joanne Woodward, Madeline Kahn, Chuck Barris, Jaye P. Morgan, Jamie Farr, Allen Ludden and Craig Richard Nelson.

Anyway, with her latest character Margaret on "The Cook Kids", Vicki Lawrence plays a character who not only appears much younger than Thelma Harper, but also behaves younger. Indeed, the entire show challenges the notion of aging. In many respects, the series is similar to the way in which "The Golden Girls" upended traditional television depictions of aging, representing characters who were vibrant, and not requiring a young character to carry the show.

When producer Charlie Day pitched "The Cool Kids", he said that Fox pressed him to inexplicably include a younger character in the main cast. "I said, 'That's ridiculous.' Young [viewers] can relate to older characters. Don't make me force in a young character that doesn't fit. And they were kind enough to relent to my yelling."

AARP's monthly magazine introduced "The Cool Kids" this way (see the article HERE):

"Could Hollywood's next movement be #AgeismToo? Consider this: 'The Golden Girls' (which I blogged about HERE), that classic sitcom centered on three 60-something women and one feisty octogenarian, was a Top 10 ratings hit for six of its seven seasons (1985-92). But it's still taken 26 years for mainstream network honchos — at youth-obsessed Fox, no less — to deliver another comedy strictly focused on seasoned types."

In her interview with Vulture, it was noted that "The Golden Girls" did great with college kids. Vicki Lawrence responded by saying:

"We tested really well with the younger audience. Because God knows, they love to laugh at their grandparents. And yeah, I knew many young people that were in love with 'The Golden Girls'. The young audience loved 'Mama's Family'. When I first started doing my road show, I assumed that my audience was gonna be an older crowd from the Burnett Show, and I was really surprised by the fact that so many young people showed up."

Mama's Family Also Did Well With Young Audiences and Gay Audiences

Truth be told, the sitcom "Mama's Family" did much better with younger audiences in its resurrection in syndication. Part of the reason was because NBC repeatedly changed the time-slot for the show in during its initial network run, making it difficult for fans to find it on television. Among the other key changes in its successful syndicated resurrection were a closer focus on just a few cast members; several left the show (or were never permanent cast members to begin with) in order to join (perhaps not surprisingly) "The Golden Girls". Notably, Rue McClanahan left the role as Fran Harper on "Mama's Family" to permanently play Blanche Devereaux on "The Golden Girls" and Betty White who was only a guest star as Ellen Harper-Jackson on "Mama's Family" also joined "The Golden Girls" as a permanent cast member on "The Golden Girls" who played Rose Nylund on that show.

Golden Girls Overlap

"Mama's Family" aired around the same period as "The Golden Girls", managed to draw many of the same viewers (particularly among younger and gay audiences). Other changes to the resurrected "Mama's Family" was a new set, the elimination of the two of characters who were Vinton Harper's two children with his first wife Mitzi (a character never seen on the show), and replacing them with one younger character who was sister Eunice Harper Higgins' son Bubba Higgins. The character Bubba was a key reason the resurrected show did so well in syndication (the time slot where it frequently ran in syndication was another, typically airing early evenings around 7:00 or 7:30 PM). Bubba was played by the buff, ginger actor Allan Kayser. The character of Bubba Higgins always wore extremely tight-fitting jeans, and numerous teenage girls (and gay boys) watched the show mainly to see Bubba and the bulge in his tight-fitting jeans as eye-candy. The other important new character in the resurrection was that of neighbor Iola Boylen played by actress Beverly Archer, who was central to many plots. The character of Iola was a regular in the reboot. Iola was the neighbor and best friend of Thelma, who was written into the show as a replacement for deceased Aunt Fran. Iola is an old maid/spinster who is the same age Naomi, whom she is jealous of for her marriage to Vinton. She is known for being able to knit little trinkets out of dryer lint, and other assorted "crafts", as well as her domestic cooking skills.

By comparison, "The Cool Kids" is a bit crass (by design), and it is also a bit braver with its main characters than "The Golden Girls" was, with a core cast consisting of both men and women (including Vicki Lawrence and her castmates who are men: Martin Mull, David Alan Grier and Leslie Jordan), caucasian and black (David Alan Grier is the black character best known for his work on the early-1990's Fox television hit "In Living Color", and on that show, one of his recurring characters was a skit the show called "Men on Film" where he plays an effeminate, gay, black man named Antoine Merriweather), as well as straight and gay (Leslie Jordan's character is gay, just as the actor himself is in real life) characters. To a large extent, the cast resemble their characters. In many ways, this also reflects broader changes in American society, and although "The Golden Girls" fearlessly addressed most of those issues, they weren't part of the show's core cast.

While "The Cool Kids" isn't quite a "Golden Girls" reboot it comes pretty close. AARP noted "Kids may not yet handle its inevitable jokes about irregularity and, yes, Alzheimer's disease with the finesse of The Golden Girls, but it's heartening to know that the show refuses to treat its characters like doddering fools. The show is less William Shatner in 2010's flop $#*! My Dad Says, thank goodness, and more Betty White as Elsa in Hot in Cleveland."

In the end, success for "The Cool Kids" may teach the lessons "The Golden Girls" should have taught television thirty-five years ago, but they simply did not remember. To some extent, as Vicki Lawrence acknowledged, networks aren't run by old guys in suits anymore. She says "They're just young and adorable." Maybe they are, but the networks are still struggling. Today they compete not only with cable, but with streaming services (both paid and free). The explosion in content has changed what we think of as television.

Vicki Lawrence acknowledged that in her Vulture interview.

Well, everybody's going everywhere. We had that whole meeting with all those people. I’m like, "You're from what, now? What in the hell is Roku?" Then after this meeting, we did these promos: "If you missed The Cool Kids on Fox, don’t forget to check us out on Netflix. Don't forget to check us out on iTunes. Don’t forget to check us out on Roku. Don’t forget to…" At the end of the meeting, I said, “I’ve got a question. How in the hell do you do the ratings anymore?" They said, "Oh, it's very complicated and very different." Television is not like television was at all, anymore.

She's not kidding on that!

You can have a look at the preview for "The Cool Kids" below, or by visiting https://youtu.be/T1-lhUD9YfE. That's followed in the playlist below with an interview by The Paley Center for Media in September 2018 with "The Cool Kids" producer Charlie Day and the cast of "The Cool Kids". That interview can be seen in the playlist below, or by visiting https://youtu.be/wJb5ziNYsas. I've created a shortcut for the entire playlist which can be visited directly at https://tinyurl.com/y27ns6ey.



As for watching "The Cool Kids", it runs on Friday evenings on Fox broadcast television, or it can be viewed on demand (typically free) on most digital cable systems, or even streaming directly on Fox television's YouTube https://www.youtube.com/playlist?list=EL8p86Z2CBJH-mhmqfMNhcBQ channel, or on other digital channels, including Fox's website for the show at https://www.fox.com/the-cool-kids/.

Author P.S.: A Belated Tribute to Ken Berry

On December 2, 2018, there was the sad news that actor/dancer Ken Berry had passed away at age 85 (see the obituary at https://www.usatoday.com/story/life/people/2018/12/02/ken-berry-star-f-troop-mamas-family-has-died/2183492002/ for details). Ken Berry played the dim-whitted son Vinton Harper on the hit syndicated sitcom (which was initially a network show) that Vicki did with Ken known as "Mama's Family" for six seasons after its 1983 debut. Vicki Lawrence herself acknowledged his passing on her Instagram feed https://www.instagram.com/p/Bq5eVoelrOC/ In addition to his appearances on "Mama's Family", the "F-Troop", Ken Berry was also a frequent guest star on many TV shows, game shows, daytime talk shows, etc. He also did a television commercial for the now-defunct seventies national shoe retailer known as Kinney Shoes which can be seen at https://youtu.be/h8aAFHhaIKc which is a great demonstration as his less-appreciated skill as a dancer. R.I.P. Ken Berry.

Author P.S., Fox Does Not Renew "The Cool Kids" for Season 2:

There was news on May 10, 2019 that Fox television, under new ownership with Disney, did not renew "The Cool Kids" for a second season. Deadline reported that like many sitcoms, "The Cool Kids" started out with solid numbers, but apparently those numbers did not continue as the rest of the season progressed. However, as Vicki Lawrence herself admitted (see above), the manner in which network executives today measure success or failure is "all over the place" with Nielsen ratings being just one component of success, but less quantifiable measures such as social media shares, internet viewership and other factors now playing a role in business decisions. Those, however, are very much a function of a network's financial support to promote a show via those channels. It is unclear what (if anything) Fox did to promote "The Cool Kids" via alternative channels.

February 5, 2019

An Ode to the American Cheese Ball

Last weekend, I went to my parents' house to visit. I was there very briefly for Christmas, but we didn't have as much chance to visit since the holiday fell on a weekday, and having many other guests to spend time with, plus we had an ailing pet who unfortunately died on the 26th, it wasn't exactly the best holiday, although on the bright side, our cat didn't suffer and we weren't forced to make a painful decision, so all things considered, it wasn't as awful as it could have been. Still, we didn't really get sufficient time to visit family over the holiday as we might have otherwise.

For the holiday, my mother gave us a personalized recipe file that she had made, along with a few recipes. As I had a chance to add my own recipes and review what was already in there, and I noticed a few of my mother's recipes that really I wanted to include that I did not have her recipes for, so I was able to ask for those during my most recent visit.

One recipe I wanted to include was the quintessentially 70's hors d'oeuvre: her cheese ball recipe. I've Googled a fair number of cheese ball and cheese log (basically the same thing in a slightly different shape) recipes and learned a few things about them.


These are usually served with different commercially-baked crackers, maybe pretzels (small, thin pretzel sticks or pretzel chips/crisps) and crudites (generally small, thin vegetable sticks made from celery, peeled carrots, and green, red, yellow and/or orange bell peppers, as well as broccoli and cauliflower florets plus cherry or grape tomato varieties). In the U.S., what Americans call "cream cheese" (sold under the bestselling brand name of Philadelphia now made by Kraft-Heinz, but available commercially since 1872, its origins were not from Philly but upstate New York, see HERE for more history) is a soft, usually mild-tasting fresh cheese that's made from milk and cream. Stabilizers such as carob bean gum and carrageenan are typically added in industrial production. Cream cheese is not naturally matured and is meant to be consumed fresh, so it differs from other soft cheese varieties like Brie and Neufchâtel (the latter being the variety in which it is most similar to in terms of taste and texture, only cream cheese is richer and there's no rind). It is also comparable to Boursin and Mascarpone in terms of flavor. Frequently, Neufchâtel cheese is marketed as a lower-calorie version of products like Philadelphia cream cheese in U.S. supermarkets.

The U.S. Food and Drug Administration defines "cream cheese" as containing at least 33% milk fat with a moisture content of not more than 55%, and a pH range of 4.4 to 4.9. Similarly, under Canadian regulations, cream cheese must contain at least 30% milk fat and a maximum of 55% moisture. In other countries, its defined differently and may need a considerably higher fat content to be called cheese. That said, whether one uses American/Canadian "cream cheese", Neufchâtel, Mascarpone or another variety, it's possible to experience what is commonly referred to as cheese balls.

Cheese balls are rooted in sharing. Like another seventies cheese fad known as Fondue (I wrote about it HERE) that originated from the Swiss dairy conglomerate known as the Emmi Group, the largest Swiss milk processor and a leading producer of specialty cheeses that Switzerland sells for export, both are social foods. Unlike Swiss cheese varieties marketed around the world, the American cheese ball (or cheese log) is uniquely American in origin. But, like fondue, it's also typically a socially-consumed food.

The New York Times wrote that the [American] cheese ball is "a stalwart of the Midwest cocktail party", where it can be fashioned from processed cheddar cheese and/or cream cheese with port wine or even fruit (usually rolled in some type of crunchy nuts, although sweeter versions may use oats, cereal, chocolate chips, sprinkles, etc.).

But the Midwest is a vague and vast geographic region, so the origin is most likely from the state that calls itself America's Dairyland: Wisconsin and/or its nearest neighbor (another U.S. dairy powerhouse): Minnesota, which is home to the massive Land O'Lakes dairy empire, which began as the Minnesota Cooperative Creameries Association and now ranks among the biggest in the country.

Technically, the Midwest has dozens of dairy cooperatives, many of which have grown to become among the top 100 in terms of sales. However, California produces far more dairy products than both Wisconsin and Minnesota combined. Plus, even a smaller but very innovative dairy cooperative from New England has grown into a force to be reckoned with, the dairy cooperative known as Cabot Creamery (which includes dairy farmers from across New England and upstate New York; the cooperative is known as Agri-Mark but Cabot is a brand offered by the organization) has since since grown into a firm that has begun to rival its big Midwestern counterparts in terms of both output and more importantly: innovation, name recognition and branding.

Whether the cheese ball's origins are the Midwest or not, for whatever reason, cheese ball and cheese log recipes became massively appealing nationwide among U.S. housewives during and were suddenly all the rage in the back in the 1970's: they are an easy, tasty, and are an attractive party food for most any occasion. That suited housewives and hippies living in communes alike.

These are usually served with different crackers, maybe pretzels (small, thin sticks or chips) and crudites (generally small vegetable sticks made from celery, peeled carrots, colored bell peppers, broccoli and cauliflower florets, plus cherry or grape tomatoes). In the U.S., what's called "cream cheese" (sold under the Philadelphia brand name marketed by Kraft-Heinz) is a soft, usually mild-tasting fresh cheese that's made from milk and cream. Stabilizers such as carob bean gum and carrageenan are typically added in industrial production. Cream cheese is not naturally matured and is meant to be consumed fresh, so it differs from other soft cheese varieties such as Brie and Neufchâtel (the latter being the variety in which its most similar to in terms of taste and texture, but cream cheese is richer and there's no rind). Its also comparable to Boursin and Mascarpone in terms of flavor. Neufchâtel cheese is sometimes marketed in the U.S. as a lower-calorie version of products like Philadelphia brand cream cheese in U.S. supermarkets, or dozens of store brands of cream cheese.

The U.S. Food and Drug Administration defines "cream cheese" as containing at least 33% milk fat with a moisture content of not more than 55%, and a pH range of 4.4 to 4.9. Similarly, under Canadian regulations, cream cheese must contain at least 30% milk fat and a maximum of 55% moisture. In other countries, its defined differently and may need a considerably higher fat content in order to be called cheese. That said, whether one uses American/Canadian "cream cheese", Neufchâtel, Mascarpone or another variety, its very possible to experience what is commonly referred to as cheese balls in the U.S.

Your Choice: Have Your Cheese Balls Savory or Sweet

While plenty of people are more fond of the sweetened variety (such as those containing fruits such as dates, raisins, pineapples or cherries) or chocolates considering that Kraft sales data show that its better selling cream cheese spreads sold are the sweet varieties such as strawberry or pumpkin spice, rather than savory varieties like Chive & Onion, or Garden Vegetable (I'm still annoyed I can't find sun-dried tomato in my local supermarket anymore!). For me, I find sweetened cheese balls kind of revolting and they definitely tend to test my gag reflex, so I won't even consider the non-savory variety (savory cream cheese spreads contain things like olives, blue cheese, shallots/scallions, sun-dried tomatoes, etc.). To each his (or her) own, I guess. I also don't eat any salads with fruit in them (my apology to the Waldorf inventor, or those who add mandarin oranges), and I'm not fond of adding fruits to meat-dishes like ham with pineapples, or sausages containing raisins -- its simply a taste preference.

But as already noted, in essence, a cheese ball is simply another form of social cheese consumption. At their core nearly all cheese balls are simply a combination cheeses, mixed in with some seasonings and rolled in crunchy nuts or other coatings.

The cheese ball may be retro, but there’s a reason that cheese balls have a hallowed place in the hors d'oeuvre hall of fame. The combination of the mildness of cream cheese and the sharpness of the grated cheddars or other cheese varieties, all amped up with a dash of Dijon or a splash of Worcestershire, make them oh-so inviting.

There are hundreds of different cheese ball recipes out there which you can find online (Philadelphia brand of cream cheese has an entire page dedicated to the topic), and I discovered that the truth is, you don't really even need a recipe at all in order to make a cheese ball. All you have to do is start with the main ingredient: a creamy cheese variety (or a combination of several). Then, mix in whatever fillings and/or flavorings you’d like, and roll it in something to give it a combined texture and flavor combination. That's about it.

Cheese Balls Are Less of a Recipe, More of a Technique

In many ways, a cheese ball isn’t even a recipe; it’s a concept with four directions. What makes a cheese ball so versatile is that you can literally change almost every element and still be good to go.
  1.  Mix room-temperature cream cheese and other cheeses and butter until smooth
  2.  Shape into a ball (or log)
  3.  Chill
  4.  Roll in crunchy stuff and serve
Aside from cheese/cheese mixture, there are 3 main categories of all cheese ball ingredients:

Mixed-In Flavorings: Most people add seasonings for flavors, which are often savory, including condiments/spices: soy sauce (or fish sauce), Worcestershire sauce, horseradish, wasabi, ginger, basil, some type of garlic: minced, fresh garlic, garlic powder or garlic salt or a combo thereof, mustard (many varieties), lemon, sun-dried tomatoes, rosemary, thyme, hot sauce (Tabasco or other, including Sriracha), and packets of mixed herb seasonings (some like easy-to-find items Good Seasons dressing mixes, though these can be a little salty). Others on the sweeter side include: nutmeg, cinnamon, vanilla, instant coffee (no one wants coffee grounds!), melted chocolate, confectioners sugar, dulce de leche, and/or flavored jams.

Mixed-In Ingredients: As for mixed-in ingredients, typical savory mix-in ingredients are: sesame seeds, poppy seeds, caraway seeds, zaatar, minced dried garlic flakes, minced dried onion, crushed wasabi peas, scallions or chives, smoked paprika, parsley or dill. Sweet mix-ins include: coconut, raisins, crushed pineapple, dried fruits (such as raisins, but most any dried fruit will work), canned pumpkin, strawberries, maraschino cherries, pomegranate seeds and chocolate chips.

Rolled-In Flavor/Textures (the crunchy stuff): Savory ingredients to roll the cheese ball in include: chopped walnuts, chopped pecans, chopped pistachios, slivered almonds, or other chopped nut varieties, cracker crumbs or broken potato or tortilla chips. Sweeter ingredients to roll the cheese ball in include: pretzels, sprinkles/shots/jimmies, powdered sugar, cinnamon-sugar, shredded/sweetened coconut, Oreo cookie crumbs, graham crackers crumbs, chopped peanuts, chopped pecans, chopped chocolate/chocolate chips, caramel chips, or peanut butter chips, cookies, cocoa, granola, or even breakfast cereals.

The single trick to getting any cheese ball to work well is that every ingredient must be at room temperature. Yes, proper temperatures are a must. Soft, warmer cheeses become integrated into a single flavor, with a new texture and aroma that simply cannot occur if you start with ice-cold ingredients. Set the cream cheese and other cheeses out on the counter for about an hour before you start and you will be problem-free.

Without further delay, below is the cheese ball recipe I was looking for. I know it's probably just a recipe my mother made pretty often, but is not unique to her. My mother's cousin Janet gave her the directions/recipe initially, although very likely, I would guess that she probably got the original from someone else. Now that I know I have the freedom to experiment with different flavorings, I may add some others and see how I like them. I may also use something other than walnuts (maybe macadamia?!) as the covering. Sounds fun!

Janet's Cheese Ball Recipe
  • 1 lb. cream cheese (2 eight oz. packages)
  • 3 tbs. soft butter
  • Garlic salt
  • Pepper
  • 1/2 cup chopped black olives
  • Chopped walnuts
Blend all ingredients. Chill at least 4 hours. Roll in chopped walnuts.


See also:
https://www.thekitchn.com/how-to-make-a-cheese-ball-239455

https://clickamericana.com/recipes/appetizer-recipes/retro-party-food-12-classic-cheese-ball-recipes-from-the-70s

February 2, 2019

"The Cher Show" on Broadway

I see a lot of shows, and many are great, others are only so-so, but I seldom write reviews on any of them. But last weekend, I saw "The Cher Show" on Broadway (its currently playing at the Neil Simon Theatre on West 52nd Street in New York).


The play is a jukebox musical biopic story about the diva in the title. The woman born as Cherilyn Sarkisian from El Centro, California, a border town in the Imperial Valley, but is much better known by the mononymous (and abbreviated) name Cher. More than a few of such jukebox musical shows have made their mark on the big white way in recent years about Carole King, Frankie Valli, Billy Joel, Gloria Estefan, Donna Summer and even Janis Joplin to name a few. Most were enjoyable for what they were, but were mostly formula-driven musical bios that followed a boring, chronological storylines (only Summer broke from that sequence) with the music shoe-horned into the story.

Being a longtime Cher fan anyway (I'm old enough to have grown up watching the original weekly TV variety show broadcast live with the Bonos and their first child, who is exactly my age -- born just a few weeks before me), the subsequent solo Cher variety show, and the duo's short-lived, post-divorce return to television variety as an on-screen couple, even if she was already married to Gregg Allman at the time (Mr. Allman died back in 2017, but Cher did not give the eulogy at his funeral as she did at Sonny Bono's in 1998), so "The Cher Show" wasn't really a difficult sell for me, yet I still went into it with low expectations given my disappointment with so many others in this theater genre so far. The genre is more like a Beatlemania performance, rather than a story like The Miracle Worker about Helen Keller.

Anyway, on that front, I was very pleasantly surprised with "The Cher Show". Sure, the jukebox biopic genre is still more about filling theater seats daily with tourists than about boundary-pushing stories or performances. But "The Cher Show" did a few things differently which I really enjoyed.

The non-linear story telling (and the music that accompanied it) was in my opinion, very refreshing, and it also wasn't a reminder that I'll be a half-century old this year (or that Cher herself will be 72). Its accomplished with three different actresses playing Cher at different points of her life, named Babe, Lady and Star respectively, yet they interact with one another throughout the show, sometimes rather humorously. Although the actresses were good at mimicking her smoky, contralto voice, I don't envision Patti Lupone is worried any of the actresses are ready to unseat her for acting just yet. They were all great singers, but they did what they could for the role they were cast; and none can ever be Cher herself.

Cher's direct, personal involvement as the producer of "The Cher Show" as well the direct involvement of her long-time friend and costume designer Bob Mackie, who has won multiple Emmy Awards of his own, both really give the show its unique edge. The show's director Jason Moore said this way: "You can't really tell the Cher story without telling the Bob Mackie part of it".

Bob Mackie's sequin-studded, feathered "nude" dress that Cher wore to the 1974 Met Gala.
Bob Mackie spoke fondly of his relationship with Cher, whom he met as a guest on "The Carol Burnett Show". He said "To be cute and pretty back then, you had to have a turned-up nose and lots of blond hair. But Cher is an amazing-looking girl. She can look like anything. She loved getting dressed up, and nothing intimidated her. By the end, people were turning on the show just to see what she was going to wear." Colors were bold, sequins were plentiful, coverage was minimal.

"Almost nothing he [Bob Mackie] ever made me did I hate," Cher said. "The minute I started getting beads, I didn't care what happened."

One of her most iconic singles was not her 2017 smash "Believe", which became the bestselling song of her musical career, but was her breakout 1971 solo single "Gypsys, Tramps & Thieves" from a performance that was given on their Sonny & Cher variety show performed around the same period of time (in the days before music videos existed). A clip of that can be listened to below, or by visiting https://archive.org/details/CherGypsysTrampsThievesFromTheSonnyCherComedyHour1971:


"The Cher Show" features an impressive re-interpretation of so many of her iconic Bob Mackie costumes (reportedly over 600 costumes), which are changed with a rapid frequency that's definitely a testament to the actresses who play the 3 different Chers.

Bob Mackie himself deserves much of the credit for his role in "The Cher Show"; he is the sole costume designer for the show. He says he had the original designs and sketches for most of her original costumes, which made it less of a new creative endeavor and more of a production assignment for the show, although there were some notable modifications. Many of the original costumes that Cher wore were reportedly incredibly heavy and fragile, she reportedly tripped wearing one to the accept the Oscar that she won, dropping an earing on the way up to the podium), including the different headpieces, so Mr. Mackie creatively modified the originals for "The Cher Show", making them much lighter-weight, yet still as radiant as the originals, and also durable enough to survive the rapid pace costume changes in the show. Both Cher and Bob Mackie deserve rightful credit for their roles in bringing "The Cher Show" on Broadway to fruition and making it work.

Cher's involvement also ensured that audiences of the show don't forget her journey to becoming not only a pop star first by going to London with Sonny Bono (the show also features an appearance by someone playing legendary American sixties musical producer Phil Spector who's now in jail for murdering his wife) to becoming an Oscar-winner, or even her humiliating infomercial period (which was hilariously lampooned on SNL) or Cher's much-chronicled love-life, the subject of tabloid fodder for as long as I've been alive, isn't a central focus. Although a few of her most memorable romances (including her two husbands, and her affair with "bagel boy" Rob Camilletti who was 22 years her junior when she was living in New York to pursue a stage career) have roles, its but difficult to fit so many romances into a short biopic and its not supposed to be about her colorful love-life anyway. The show even humorously acknowledges Cher's many farewell shows.

But Cher's two children are barely acknowledged in the except as a decoration, and they use baby dolls rather than actors to fill those roles. To her credit, her oldest child is referred to as Chaz throughout the show, although as noted, her kids are hardly mentioned. The important thing to remember is: this is "The Cher Show", not the Sonny & Cher Show, the Cher and Gregg Allman Show, the Cher and Bagel Boy Show, or the Cher and her Kids Show. They are all acknowledged, but the show isn't really about any them. Perhaps that's more to respect her children's privacy than it is about ignoring them. Chaz Bono, for example, went through a painful period of gender dysphoria growing up before ultimately transitioning to become male. While Cher wasn't initially thrilled, mainly because she wasn't confided in until the decision had already been made by Chaz, she ultimately helped her child with the transition and has since willingly embraced the slightly-modified name (which went from Chastity to Chaz) that was ultimately chosen.

Although her own children are played by baby dolls in "The Cher Show", her mother plays a very significant role in "The Cher Show". Her father, John Sarkisian, on the other hand, was absent, which is largely as Cher remembered him growing up. By the time her mother Georgia Holt learned she was pregnant with Cher, she had already left Mr. Sarkisian. Cher spent very little time with her father growing up, whom she says had a gambling and heroin habit. Cher had a series of stepfathers growing up — her mother was married a total of eight times, to six different men. And yet, her mother is depicted in a way that glosses over her own many relationship failures to make her appear wise instead. Cher claims its because she mostly watched her mother survive alone.

There are even a few funny cameos in the show by the likes of an actress that portrays the late Lucille Ball who Cher says actually gave her advice as a young woman about not letting a husband run her life or her career (Lucy was spoke from her own experience).

On the musical score, most are familiar with Cher's long discography (the show includes 35 of her songs), but her willingness to abandon linear sequence of her music was a refreshing surprise which deserves acknowledgement. We start early with "All I Really Want to Do", but end up at the auto-tuned "Believe" just a few minutes later. At the same time, they had to cut things to keep the length of the show right, and the biggest omission on the musical score is the complete exclusion of Cher's duration with Casablanca Records which includes such numbers as "Hell On Wheels" that was big during the roller-disco era of the late-seventies into the early-eighties. Admittedly, her Casablanca period didn't produce any of the platinum-selling singles that her late 1990's dance tracks did, yet was still a relevant part of her lengthy yet successful musical career. Perhaps its not a critical omission, but an omission nonetheless that could have been colorful and funny.

Like all jukebox musicals, "The Cher Show" has an expiration date. People are unlikely to be watching this in another 50 years, just as no one will likely be watching shows about Billy Joel or Gloria Estefan because they are pop culture celebrities of today. It won't matter since its based on pop culture of yesterday and today, not tomorrow.

No matter, in all, I would still give "The Cher Show" two thumbs up. Its enjoyable without taking itself too seriously. The actresses that perform her are great singers, and she's still willing to be the butt of a joke that made her early TV variety hows such big hits. Its not perfect, but there's a lot to like about "The Cher Show" and was a lot more enjoyable than some others in this same genre. The costumes are great, as is the music, and its funny enough without being too serious.

January 20, 2019

Half-Hour of 1977 ABC TV Commercials

Not every post needs to contain a detailed story. Sometimes, the content pretty much speaks for itself, as is the case with this posting from Internet Archive. It contains a collection of TV commercials which aired on ABC television between January and May 1977. Some, such as those with Bill Cosby's voice-overs for Del Monte corn speak more to the particular point in time than they do any lack of oversight of Mr. Cosby's pre-#MeToo behavior.

Here's the complete list of what's included with approximate times:
  • 0:00 Oscar Mayer Bologna
  • 0:32 Oscar Mayer Hot Dogs
  • 1:02 ABC Bumper
  • 1:07 Del Monte Corn (Bill Cosby narration)
  • 1:37 Mounds/Almond Joy Candy Bars #1
  • 2:08 The Six Million Dollar Man promo (episode: Danny's Inferno)
  • 2:29 The Hardy Boys/Nancy Drew Mysteries promo
  • 3:00 Triscuits Crackers (with Betty Buckley)
  • 3:30 Campbell's Noodle-O's Soup
  • 4:00 The Captain and Tennille Show promo
  • 4:24 Golden Grahams Cereal
  • 4:54 The Kodak Instant Camera with a Twist
  • 5:25 AT&T Super-Switcher
  • 6:24 Happy Days/Fonzie Loves Pinkie promo
  • 6:55 McDonalds Fish
  • 7:25 Purina Cat Chow
  • 7:56 Nescafe Coffees
  • 8:27 Carefree Sugarless Gum (with Dena Deitrich)
  • 8:56 Kentucky Fried Chicken
  • 9:28 Eight is Enough promo #1
  • 9:50 Gaines-burgers Dog Food
  • 10:20 Singer Sewing Machines (with Debbie Reynolds, George Dzundza and Michael Tucci)
  • 10:50 Tickle Antiperspirant
  • 11:52 Final Net Hairspray
  • 12:21 Eight is Enough promo #2
  • 12:52 Future Cop/Three's Company promo
  • 13:16 Mounds/Almond Joy Candy Bars #2
  • 13:46 The 1977 Chevrolet (with Jerry Orbach)
  • 14:17 Playtex Support-Can-Be-Beautiful Bra
  • 14:47 Coca-Cola ("Coke adds life!")
  • 15:18 Hanes Pantyhose ("Gentlemen Prefer Hanes")
  • 15:46 Purina Puppy Chow (Sterling Holloway narration)
  • 16:19 Boy Scouts of America ("Boy Power!")
  • 16:40 Chevrolet Concours
  • 17:10 Revlon Natural Wonder Crease-proof Cream Eyeshadow
  • 17:40 Fritos Corn Chips
  • 18:11 Soft & Dri Antiperspirant (with P.J. Soles & Charlene Tilton)
  • 18:42 Log Cabin Buttered Syrup
  • 19:12 Post Raisin Bran
  • 19:43 U.S. Savings Bonds ("The Ant & the Grasshopper")
  • 20:16 Oscar Mayer Bologna
  • 20:47 Oscar Mayer Bacon
  • 21:17 Clairol Nice 'n' Easy Hair Color
  • 21:47 Pillsbury Plus Cake Mix
  • 21:18 Clorox Bleach
  • 22:49 Blansky's Beauties/Fish/Starsky & Hutch promo
  • 23:20 Kinney Shoes (with Ken Berry)
  • 23:50 Carnation Instant Milk (with Vicki Lawrence)
  • 24:20 Kool-Aid
  • 24:50 Gravy Train Dog Food (with June Lockhart)
  • 25:22 Fotomat
  • 25:52 Wheat Thins Crackers (with Sandy Duncan)
  • 26:23 The Easter Bunny Is Coming to Town promo
  • 26:45 Good Year Tires
  • 27:15 Canada Dry Ginger Ale (with Aldo Ray, Broderick Crawford & Jack Palance)
  • 27:45 Have a Pepsi Day
The video can be watched below, or by visiting https://archive.org/details/1977TVCommercials.

 

Some, such as the promotional promo from "Captain and Tennille Show" (at 4:00) are worth revisiting since the Captain Darryl Dragon passed away just a few weeks ago, on January 2, 2019 at age 76, although as I noted in my post on the duo in April 2017, Toni Tennille was bitten by the celebrity bug, and it was more a showcase for her, with Mr. Dragon being mostly a musical backdrop for her. Another clip, this one for retailer Kinney Shoes starting at 23:20 featured actor and dancer Ken Berry, perhaps best known for his starring role as Vinton Harper on the seventies-to-eighties sitcom "Mama's Family" (catch my post on that http://hgm.sstrumello.com/2017/02/mamas-family-from-network-tv-also-ran.html for details) who passed away at age 85 on December 1, 2018.

Of course, I'm partial to the two commercials for Peter Paul Mounds/Almond Joy Candy Bars #1 which appears at 1:37 and another Peter Paul Mounds/Almond Joy Candy Bars #2 spot which appears at 13:16 because at the time, the company was still based in Connecticut where I grew up (long before being acquired by Cadbury, whose U.S. operations were later sold to Hershey). When I was growing up, class trips to the factory were always a favorite among grade school kids of that era.

Anyway, since these commercials were broadcast prior to the Copyright Act that took effect on January 1, 1978, the archivist presumes these commercials are all in public domain (most of them, at least) but he says he's certainly no copyright expert. These were included on DVD's of "The Brady Bunch Variety Hour" duped from tapes of the original broadcasts made by producers Sid & Marty Krofft which I obtained from a collector. They are broken into clips and shared them on various sites like RetroJunk over the years, but when he posted them as a complete collection on YouTube in 2013, the video quickly began averaging 1,000 hits a day. Due to the high-quality, extreme rarity and overwhelming popularity, it seemed like a no-brainer to make them available for download on The Internet Archive in full DVD quality.

December 11, 2018

Mama Mia! The Swedish Group ABBA Has Made a Lot of Money, Money Money!

Much has been written about the Swedish super group called ABBA. After all, the group has more than proven its endurance to a global audience.
The group's iconic logo was/is also a registered trademark
Songwriters and musicians Björn Ulaeus and Benny Andersson first met in 1966, and in 1969, the seeds of the soon-to-be Swedish supergroup were planted when Björn met his fiancée, Agnetha Fältskog, and Benny met his fiancée, Anni-Frid (known as Frida) Lyngstad, and the group formed in Stockholm in 1972. Ulvaeus and Andersson knew how to write contagious pop hits, but Fältskog's and Lyngstad's beautiful harmonies were integral to the global chart-topping ABBA sound. The group's name is an acronym from the first letter in each of their names. In 1974, ABBA was the contestant for Sweden in the Eurovision Song Contest, the pan-European music festival. Sweden (and ABBA) took home the prize as the winner of the Eurovision contest that year with their performance of the song "Waterloo".

Although relatively unknown outside of Scandinavia at the time, ABBA used the Eurovision song contest as a launching pad to become a global pop music sensation. While Sweden has long been one of the world's largest cultural exporters (books, music, film, television programming, etc.), likely because in Swedish public schools, the population is taught English in as a core subject (along with Swedish and mathematics) staring in grade school between the ages 7 and 9, depending on the school attended. Indeed, most Scandinavians are praised for having both fluency in English and language competency in addition to their own native tongues, hence Swedes successfully export to the broader English-speaking world.

Anyway, in 1974, in spite of competing against the likes of Olivia Newton-John who represented the UK in Eurovision that year (unfortunately, she sang a boring song entitled "Long Live Love" that year, and her outfit was similarly conservative), ABBA grabbed the top prize.  A video of the group's winning performance in the 1974 Eurovision contest can be seen below, or by visiting HERE.



Not only was the ABBA song "Waterloo" understood across Europe, but the band also wore what were considered pretty daring costumes that year, too. Their costumes were certainly eye-catching: shiny, satin, all-in-one outfits and even shinier knee-length hot-boots. The costumes were explained largely as a way to exploit a Swedish tax law. As long as their outfits were so outrageous that they could not be worn on the street, the band could claim the cost of the outfits were tax-deductible.

ABBA band member Björn Ulvaeus recalled: "In my honest opinion, we looked like nuts in those years. Nobody can have been as badly dressed on stage as we were." Björn added: "We figured with our clothes, people would remember us even if we finished ninth." Frida noted: "We chose clothes we felt comfortable in. My favorite was a body stocking with a little dress cut diagonally. I thought I was elegant and sexy in it."

But the costumes fit right into the disco era which was just emerging around the world at the time, and people remembered the band who wore such colorful (if garish) outfits. It didn't hurt that their music was universal, and the harmonies of the women's voices in the group sounded great. They took their knack for memorable (if ugly) costumes, along with catchy lyrics and dancible pop melodies and became a global superstar group whose success is in many ways, unparalleled. All told, ABBA released eight studio albums over their original 10 years together. Perhaps their most iconic single was their 1976 hit "Dancing Queen" which can be listened to below, or by visiting https://archive.org/details/ABBADancingQueen_201811.



"Dancing Queen" was ABBA's biggest hit in the United States (going to number one), and it also topped the charts in Australia, the Netherlands, Belgium, Ireland, Mexico, New Zealand, Norway, South Africa, Spain, Sweden, the UK, Germany and Zimbabwe. "Dancing Queen" also reached the top five in many other countries.

At their commercial zenith in the late 1970's, ABBA were reputedly second only to Volvo in their contribution to Sweden's exports. While figures vary, industry watchers agree that ABBA has sold at least 200 million albums and singles worldwide (some unconfirmed estimates put the figure closer to 400 million, behind only The Beatles but ahead of Led Zeppelin, Pink Floyd and Queen), and certainly comparable to the Rolling Stones. Collectively, estimates are that ABBA has earned more than $2 billion in album and singles sales during its career.


The 1974 Eurovision-winning band was actually made up of two couples — Agnetha Fältskog and  Björn Ulvaeus, and Benny Andersson and Anni-Frid (Frida) Lyngstad. Both couples would later split as the band became most successful, and ABBA broke up as a group in 1982. ABBA was always bigger in terms of studio recordings, but decidedly less so when it came to touring and live performances. Despite some disagreements among the quartet, the four largely remained in touch and they seem fairly united in decision-making that has perpetuated their fame and fortune. The original ABBA team have proven themselves VERY adept at continuing the nurture their money-machine by carefully licensing their songs to bands and singers who have kept their songs continually playing (and selling).

For example, in 1992, they wisely licensed several of their songs to the UK pop duo Erasure (Vince Clarke and Andy Bell) which released an EP of four of ABBA's best-known hits. That EP revived ABBA's songs for a generation of young adults who grew up listening to the original ABBA songs on the radio, and was also Erasure's first and only #1 on the UK Singles Chart for the single "Take A Chance on Me", plus it got significant airplay in the U.S., Canada, Australia and New Zealand.

ABBA later licensed its songs to live theater productions of the show "Mama Mia" which opened in London and remained a best-seller there, replicating that successful run in New York, Toronto, Sydney and elsewhere. The stage version's worldwide gross from 49 productions exceeded $2 billion in 2015, having been seen by 500 million people. The 14-year Broadway run alone grossed more than $600 million, according to the trade group Broadway League.

In 2014, the ABBA band-members released a video they called "The Last Video" which can be seen below, or by visiting https://youtu.be/8L6T6Yj5u4k which is indicative of the continued creative work from the group members.


ABBA's West-End/Broadway success with "Mama Mia", in-turn, lead to the Hollywood movie version of "Mama Mia" that starred Meryl Streep. The "Mamma Mia" movie version of the all-ABBA musical was released by Universal and earned the band another $600 million at the box office, while the sequel (whose story was panned) still quietly earned another $280 million during just its first four weeks without even factoring in DVD and streaming sales, licensing to cable television, etc. ABBA also released (or was it really a re-release of their biggest hits?) "ABBA Gold: Greatest Hits", which has been called one of the most influential compilation albums ever released, and sparked a strong revival of ABBA's music that has endured well into the 21st century.

In 2018, one guest-star of "Mama Mia 2", herself a seventies pop icon Cher, released a whole new album of ABBA covers following her appearance in the sequel movie. She announced one of the singles "Gimme! Gimme! Gimme!" via her active Twitter account.

Cher told the press (see HERE): "I've always liked ABBA and saw the original Mamma Mia musical on Broadway three times. After filming "Mamma Mia! 2: Here We Go Again", I was reminded again of what great and timeless songs they wrote and started thinking 'why not do an album of their music?' The songs were harder to sing than I imagined but I'm so happy with how the music came out. I'm really excited for people to hear it. It's a perfect time."

Meanwhile, back in Stockholm, Sweden, the ABBA The Museum is a Swedish interactive exhibition about the pop band ABBA that opened in Stockholm, Sweden in May 2013. ABBA's collected works are showcased in a contemporary, interactive setting at Djurgården, Stockholm.

ABBA also announced that the Swedish foursome had recorded several brand new songs during 2018, its first in 35 years, which will be released in early 2019. The original band members are all now in their seventies, so studio recordings are one thing, but the group has said they have no intention of doing any live performances. But there ARE plans for a TV special, and a separate digital project to recreate the four members performing as what they're branding their 'ABBAtars' using the experience gained from the ABBA Museum to further their commercial success on a global basis.

Just how much longer ABBA can perpetuate its "Money, Money, Money" tree remains to be seen. But they've proven themselves perhaps the most successful at merchandising their music in a way that few other bands have yet to replicate -- it doesn't just happen, it takes a degree of talent, intellect and work -- but perhaps could pave the way for future artists in the 21st century?