When it comes to the bizarre – the 70s seemed to have a stranglehold on performing artists crying out for some kind – in fact any kind of help.
Take Englebert Humperdink.
Granted he had enduring talent which to this day has earned him milliions – but at what point did his manager decide that the moniker Englebert would prove an astute career move?
Or how about that One Hit Wonder – Randy Vanwarmer? Is there in fact a Mrs Vanwarmer or a whole household of Vanwarmers?
Even Johnny Cougar – who has since morphed into John Mellancamp felt the need to exude a point of difference at the time along with fellow animal kingdom soulmate Adam Ant I suggest.
Can we forgive the likes of Freddy Mercury or Sid Vicious for their lapse of any significant homage to their birthnames?
Maxine Nightingale, Meatloaf even Christopher Cross (Criss Cross – what’s going on there?)
But are there any others you can readily bring to mind? Or is it all to ugly to even contemplate?
What do you get when you combine cellos, violins, woodwinds, horns and classical overtones to a stirring rock agenda?
Modern Opera?
Well kinda. ELO – or for the puritans – The Electric Light Orchestra. Hugely contemporary with unabashed lashings of everything from baroque to renaissance – Jeff Lynne and his wandering band of mistrals defied predictions from almost every quarter of the music world and turned ELO into one of the great success stories of the 70’s.
Despite the sometimes turbulent road the band travelled – there can be no doubt – collectively we were the better for their journey.
From some of its earlier work to their first US Top Ten “Can’t Get It Out Of My Head” in 1975 – ELO provided countless musical anthems to the masses.
Evil Woman (who’s string hook was re-released by the Pussycat Dolls as part of their 2006 hit “Beep”), Livin’ Thing, Telephone Line, Rockaria and Sweet Talkin’ Woman all went multi-platinum while live – the band proved the biggest drawcard in the US by 1978 – averaging a massive 50,000 people at each of their shows.
And it didn’t stop there. With the onset of the disco era (and who doesn’t love disco), the ELO juggernaut continued unabated. In 1979 Lynne produced the album ‘Discovery’ (or had been cruelly suggested by some rock historians – Disco very), generating their biggest hit – “Don’t Bring Me Down”. In fact the album proved not only for its time but left a lasting legacy for bands such as Atomic Kitten and Lovefreekz – both of whom sampled the tracks Shine A Little Love and Last Train To London in 2003 and 2005 respectively.
Facts, figures and hyperbole aside – ELO – complete with its famous on-stage spaceship – fall into the comtempory music legend category. Turn to Stone, Mr Blue Sky, All Over The World, Xanadu plus so many, many more – ELO without doubt provided ‘A Strange (but hypnotic) Magic’ for millions.
Unfortunately it’s been a fairly dry period for fans who have longed for a Jeff Lynne-led musical oasis – the likes of which we’re unlikely to see again – yet drink from the well I say – the lifeblood of your youth lies deep within.
Regarded as one of the most influential rock and roll bands of all-time KISS holds honors as one of America’s top gold record champions, recording 36 albums over 32 years selling over 75 million albums worldwide.
Performing at everything from the Super Bowl to the 2002 Winter Olympics , the KISS legacy continues to grow, generation after generation, transcending both age and cringeworthy crtics.
The unparalleled devotion and loyalty of the KISS is an incredible testament to the band’s unbreakable bond with its fans.
The original lineup of Paul Stanley (vocals and rhythm guitar), Gene Simmons (vocals and bass guitar), Ace Frehley (lead guitar and vocals), and Peter Criss (drums, percussion and vocals) is the most successful and identifiable.
With their outlandish makeup and costumes, they took on the personae of comic book-style characters of The Demon, The Starchild, The Spaceman and The Catman.
Their rise to fame is of course well doumented as is their fall from grace during the 80’s and their ‘unmasked’ period.
Due to creative differences, both Criss and Frehley were out of the group by 1982 – which by no small co-incidence also saw the band’s commercial fortunes also wane.
But buoyed by a wave of nostalgia in the 1990s, the band’s original lineup reformed – and the resulting Kiss Alive/Worldwide/Lost Cities/Reunion Tour was the top-grossing act of 1996 and 1997.
From a Joe Ordinary’s point of view, there have been some amazing movies made.
Some bizarre, some remarkable and some which simply fall into the iconic class.
While every decade had them – the 70′s had a proliferation of all genre’s (at least to this Joe Ordinary’s mind anyway).
From Butch Cassidy and the Sundance Kid, to The Exocist, Saturday Night Fever to Grease, Star Wars to Close Encounters, The Godfather to Rocky – but which five make your iconic 70′s film list?
Perhaps Annie Hall did it for you?
All the Presidents Men or American Graffiti?
There’s no right or wrong answers – just what works for you.
What was it about the sitcom – Happy Days – that made it sooooo ‘cool’.
Let’s face it – when you look at the sum of its parts, the show had little going for it.
Imagine going to television executives (in an era when Mannix, The Streets of San Francisco, Kojak and Kung Fu were rating their collective scripts off) – with a handful of hotch potch ideas, a single pilot episode (featuring a middle class American family set in the 50’s, a dysfunctional local thug and Japanese diner proprietor) and trying bravely to keep a poker face when looking to sell the concept.
Well – apparently it worked and Milwaukee, Wisconsin was never the same again.
If there were a Sitcom Hall of Fame, “Happy Days” would surely have a cherished spot there.
For 10 years, we followed The Fonz, Richie, Ralph Malph, Potsie and the Cunninghams through an idealised version of American life in the late 50’s and early 60’s.
From some fairly lightweight scripts came some heavyweight ratings – and for the period 1975-1977 – it consistently featured in the Top 10 programs in the US and Australia.
As twee as its formulated characterisations and improvised situational comedy was – audiences loved it.
From The Fonz’s famous ‘Heeeeeyyyy’ to the familiar ‘Sit on It’ catchcry – the program (was at worst) – inoffensive cultural cringe – (at best) – wholesome family humour.
Then it happened . . . .
Having already spawn spinoff’s including Laverne and Shirley as well as Mork and Mindy – the Happy Days lustre began to tarnish.
Having already conceived the modern colloqualism “Nerd” – the program was about to add another (less fortunate – but still enduring term) – ‘Jumping The Shark’.
With ratings falling and producers looking for answers, a plot involving Fonzie performing a water ski jump over a shark in an episode during the show’s fifth season is often cited as the point where the series had passed its peak of quality and popularity.
The phrase ‘jumping the shark’ was later applied to popular culture phenomena in general.
Of course – the series continued – but as cast members gradually drifted the program and spin-offs including Joanie Loves Chachi – became increasingly tragic – the beauty and intent of those early seasons was lost.
If there was ever a case of getting too much of a good thing – unfortunately Happy Days was it.
As much as we probably all admit to being way too cool to ever be considered one – we all have a soft side for them.
But who are your favourite nerds?
While in real life – Bill Gates would probably rank right up there – on the small screen at least I’ve compiled my own list of personal favourites. . . . so without fanfare (and in no particular order) my Top 10 nerds from TV are:
60’s and 70’s television culture – does it get any better?
Let’s face it – cheese sells. How else do you account for season after season of The Munsters – or Lost in Space.
How in today’s currency could you even contemplate running series after series of The Brady Bunch or put up with the escapades of McHales Navy or Hogan’s Heroes?
No – we’re talking classic television with a capital C. From The Addams Family to the Partridge Family – there’s little doubt that we’re smitten with a heady mix of both pop culture and nostalgia. Who could forget (or forgive Sally Field for her exuburence in) Gidget or The Flying Nun.
Will we ever get over such truly memorable television series as My Three Sons, Leave It to Beaver or Pettycoat Junction? And don’t forget the 70’s – CHiP’s with Ponch and John, Happy Days with Richie, Fonzie and the Gang, Laverne and Shirley or that stomping ground of the stars – Welcome Back Kotter, complete with one – John Travolta as Vinnie Barbarino.
Perhaps Julia or Room 222 was more your go or perhaps you’ve a soft spot for young Buffy and Jody or their sibling “Sissy” in the highly inappropriate and politically incorrectly titled – A Family Affair.
Long and short of it is that these days you can go to almost any video store and hire the boxed set of Dukes of Hazard, I Dream of Jeanie or Lost In Space and not feel the worse for taking it home and indulging in a little ME time
‘The sirens are screaming and the fires are howling
Way down in the valley tonight . . . ‘
Could it be that the unmistakable melodic prose of Jim Steinman mixed with the bombastic style of one Marvin Lee Aday – better known to us all as ‘Meatloaf’ – afforded the world one of the greatest rock albums (commercially at least) that we’re ever likely to see?
Bat Out Of Hell (released in 1977) surely resides in either the mind or collection of every music lover – regardless of genre.
Still selling an estimated 200,000 copies each year, we know there’s at least 40 million fans out there who have willingly parted with their ‘hard-earned’ just so they can recount the delights of what Rolling Stone rated in its Top 500 Albums of all Time.
In fact it’s only one of two albums that have never actually exited the top 200 in the UK charts.
Facts aside – the album cover alone is a frame-able piece of pop art –
while culturally it is probably best remembered for the rock operetta “Paradise by the Dashboard Light.”
Without doubt the most thesponian and spectacularly dynamic piece on the album, it features wailing vocals extravagances and what reviewer Steve Gdula penned as being a “testosterone-crazed tenor in an incremental game of sexual bargaining with the resistant, but willing, Ellen Foley.
“By employing exaggerated power chords, screaming vocals, over-the-top arrangements, and a sense of rock & roll as Broadway theater, Bat made Meat Loaf a star. “
One thing is certain – Bat Out Of Hell provided an Everest for both Steinman and ‘Meat’ – a summit that they’ve never quite managed to reach since.
Collectively though – we – their musical Sherpa’s will continue to delight in the achievement.
I think somebody somewhere must be tolling a bell . . .
Conversation turned to this at a party held in the confines of the Doctor’s palatial residence recently – and the jury was still out 2 hours after the topic was raised.
Jimmy Hendrix vs Elton John, The Beatles v the Bee Gees, the Moon Landing vs Star Wars – the lists were endless – or seemingly at least.
The 70’s was afterall a time when Grease was the Word that We Heard, and The Jackson 5 taught us that learning the ABC was as easy as 1-2-3 and flares were either something you wore . . . a distress signal . . . or both.
It was a time when The Fonz was cool, the girls from ABBA were hot and protest marches were on the boil.
We had mood rings and sea monkeys, platforms and pet rocks, safari suits and slinkies Rubiks Cube and Rod Stewart.
We had Rocky, the Brady Bunch and CHiPs and a Million Dollar Man.
We saw Travolta dazzle and Nixon frazzle and we paid homage to a raft of new Hollywood Queens – yet publicity mourned the loss of the one and only King.
So welcome to the 70’s – where Stayin’ Alive was a credo – not a survival technique.
Of course the 60 saw indiginous Australians win the vote – and Americans lose a president.
. . . when a band of 4 cheeky Monkees were telling us they were Believers
. . . and 4 foreign Beatles were wanting to Hold our Hand
Where Woodstock and the Flintstones both rocked
. . . and hippies were simply chose to get stoned.
It was time when knee-high boots and Mini Skirts were in – and Vietnam resulted in our troops being shipped out, where The Sound of Music and My Fair Lady waxed lyrical and the Beach Boys waxed surfboards.
It was an era of hope and the Age of Aquarius . . .
So which was cooler?
I’m still getting splinters from sitting on the fence.
What is it about 70’s music that evokes seemingly mature men to spontaneously adopt a Fender air guitar stance amidst normally civil (yet like-minded) individuals – and women to shun their inhabitations and regail in either the Nut-Bush or encouraging their girlfriends to join them on the dance floor – simply because “I love this song”?
One hit wonders including the likes of Patrick Hernandez or The Knack have a lot to answer for while groups such as the Bee Gees and their almost spirtual Saturday Night Fever album are just the tip of the whole disco iceberg.
Yes – Donna Summer, Roger Voudouris – the list goes on – and so does their music – no matter how good or bad their puritan talent may have been – you’ve gotta love an era where tie-dye was a fashion statement, where you could not only play vinyl but could wear it, where being a fan of big hair, big heels and big jewellery meant you were a big player.
But it was the ‘big acts’ – such as ACDC, Kiss and later Van Halen which led the Air Guitar renaissance – initiated by Chuck Berry and his legendary moves (so visually recreated in both Back to the Future I and II) with Johnny B. Goode.
There’s no doubt about it – the 70’s afforded us so much – yet the air guitar with its wailing six string riffs and hypnotic chord changes is a legacy which has defied the ages.
Go on – admit it – we’ve all done it before (either in the privacy of your own company) or on the dance floor – no doubt to the adulation of those adoring fans around you.
Why, there’s even a US Air Guitar Championship – with auditions in no less than 14 States including Boston, LA, Washington and New York – where those handy with an invisble “Axe” via for $1000 in prize money and a trip to Finland to take part in the World Air Guitar titles.
The celluloid and cartoon world is filled with characters from the future.
Marvin The Martian, George Jetson, Luke Skywalker, James T.Kirk, Mork from Ork, Buck Rogers, The Great Kazoo – the list goes on and on and well, on . . .
Throw in your pseudo time travllers from hits such as Back to The Future or The Time Tunnel and there’s a feast of characters – from which I’m sure there’s one you could nominate as an all time fav.
For some of us it was Mood Rings and Pukka Shell necklaces, others Pet Rocks or Sea Monkeys – but whatever your crime – the 70’s certainly had its fair share of fads and crazes.
It was an era which didn’t descriminate either – young or old – there was always a new sub-culture just waiting in the wings – complete with its own group of disciples – looking to spread the word of ‘faddism’.
From Farah Fawcett hairstyles to safari suits, toe socks and silk disco jackets – fashion aficionados would certainly be in hot water should their collective cases sit before even a benevolent style jury.
Then we had your creative types with their string art and lava lamps – your blokey types with their ‘breaker, breaker, 10-4 Big Buddy’ CB radio’s.
We had the entertainers with their constant fondue parties and of course everyone under the age of 16, complete with Atari, gonks and Surfer Sam skateboards.
Of course where would we be today without special mention to those brave souls who brought ‘streaking’ to today’s sporting venacular?
There were ‘dingbats’and macramé, silkworm collections and tie dying – in fact my mind was so irretrievably infatuated with Coke Cola yo yo’s, football and Kung Fu cards that there’s bound to be scores – no – hundreds more that still probably have us scratching our heads.
Stranded at the Drive-In . . .
“Branded a Fool . . .
“What will they say . . .
“Monday at School . . . “
Ahhhhh – the heartfelt tome of one John Travolta – who, as part of the Grease phenomenon, serenaded his beloved Sandy in a scene which featured one of the most recognizable icons of the twentieth century – the Drive-In Theatre – which now – sadly, is virtually extinct.
For those of us old enough to remember – the Drive-In was full of nostalgia and childhood memories.
Pyjama clad kids packed in the back of the car – mum and dad in the front trying to quell the excitement of a ‘big night’ out as the squeals of four, five and six year-olds reverberated around the cabin of the old EH.
Queuing for sometimes up to an hour as hundreds of other like-minded pilgrims made their way to the local movie mecca – some having to be turned away as the ‘field of dreams’ strained to house the masses.
The hooking up single cone blue and white metal speakers, the obligatory blasts of horns, flashes of headlights on the screen and of course parked somewhere down the back – the tell tale sign of fervently enthusiastic but sexually bumbling teens – complete with fogged windows.
Yes – the Drive-In was a doyen of discovery – where you could eat, drink and be merry in the comfort of your pride and joy – alas – those days are coming close to being folklore.
As recently as 25 years ago – there were over 300 Drive-Ins in Australia – today only 20 survive!
Sure – there are sanitized multi-cinema megaplexes – the advent of the VCR, DVD and home threatre systems – and a plausible argument for more constructive use of 12 hectares of land (particularly if you’re a developer) – but hey – isn’t it time that those of us weary of rampant commercialism make a stand and look to save the last of this dying breed?
We will probably never again see the proliferation of outdoor theatres contributing to a large percentage of box-office revenue, but ‘re-invented’ they could well entertain a new breed of patron and survive a commercial and cinematic flat-line – it’s all part of the bigger picture you know!
With no offence to his owner – Charlie Brown – it’s a fair bet that amidst the multitude of Peanuts characters created by Charles Schultz – Snoopy is probably the legendary comic strip’s most famous and beloved.
The ubiquitous beagle – who despite being able to walk on two legs can only communicate his thoughts through thought speech balloons not only encapsulates the essence of the late 60’s but also spawned his own sub-genre family.
With Joe Cool (aka Snoopy’s sunglass wearing alter ego), the WWI Flying Ace –(another alter ego of the pretentious pooch), plus his brothers Andy, Marbles, Spike, Olaf and sister Belle and of course the ever present Woodstock.
Most of us would be well aware of Snoopy’s signature tune – and his presence in many of the television specials signalled almost a story-line within a story-line as we found temporary escapism in his escapism – either atop his kennel battling his nemesis the Red Baron or otherwise engaged in other heroic or grandiose feats.
Constantly trying to read (be it one word at a time) the novel War and Peace – Snoopy Trivia is almost a business in itself with gems such as:
Which alter ego duelled Lucy at wrist wrestling ?
How do most of Snoopy’s novels start?
What plane does Snoopy fly in pursuit of the Red Baron?
So how did our hero manage to find not only fame but favour?
What was it that endeared him to millions?
Why is it that to this day, sales of Snoopy merchandise outstrip all the Peanuts characters combined?
Sometimes I guess it’s not what you do – but how you do it – and doesn’t he do it well.
“Space: the final frontier. These are the voyages of the Starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations — to boldly go where no man has gone before.”
This is where it all began. The Original Star Trek Series running roughly from 1966 through 1969, for a total of three seasons and 78 episodes – but my how we’ve grown.
The show was only a minor hit and was threatened with cancellation after its second year, but a strong letter-writing campaign from fans convinced the network to keep the show.
But with even less spectacular ratings Star Trek was terminated with little hope of any future.
Or so they thought!
Fortunately, after three years enough episodes were produced that the show could enter syndication, and it was in the after-school market during the early 1970′s that the show found its audience.
Fan conventions sprang up, merchandising blossomed, an animated series with the original cast was produced, and it became apparent that Star Trek was a force that would refuse to die.
Today, the franchise first conceived by Gene Roddenberry over 40 years ago has spawned four more television series, 10 theatrical movies, hundreds of books and magazines, and innumerable Internet fan sites.
So – open the pandora’s box . . . who is your favourite Star Trek character?
Last night, while getting my daily dose the Simpson’s – I found my mind wandering at right angles to the rest of the family – before proudly announcing that despite his bumbling nature – Homer was right up there with other TV dads as far as affording us advice about life.
From Mike Brady with his groovy clothes and fortune cookie advice to Howard Cunningham of Happy Days fame – everybody loves TV dads.
After all don’t we all wish we could solve our kids’ problems in 30 minutes or less?
A prerequisite of course is wisdom and sage advice.
From Don Porter who played Sally Field’s father in Gidget to Fred Gwynne as Herman Munster, Brian Keith in “A Family Affair” to Fred McMurray in “My 3 Sons” – TV dads (in the most part) have taught us that with a positive attitude anything is possible.
It wasn’t until I started to think about just how many TV dads there were – that the notion of a “Best Of” almost became too much.
Enter – Charles Ingalls from Little House on the Prairie, Tony Soprano from “The Soprano’s” Andy Taylor from The Andy Griffith Show, Ward Cleaver from “Leave It to Beaver”, Jed Clampett from “The Beverly Hillbillies”, Ben Cartwright (Bonanza), Tim Taylor (Home Improvement), Gomez Addams (The Addams Family), George Jetson (The Jetsons) – the list goes on and on and on.
While the 50′s and 60′s saw the birth of sitcoms such as I Love Lucy, The Honeymooners and Mr Ed – the 70′s certainly took television comedy to new highs (and lows).
From programmes as diverse as Laugh-In and Love American Style right through to more traditional shows such as Laverne and Shirley, The Odd Couple and M.A.S.H – they all went into making 70′s television what was either classic or cringeworthy viewing.
Of course the potpourie of programmes goes on like a class roll call – The Jeffersons, Mork and Mindy, The Dukes of Hazzard, The Partridge Family, Bob Newhart, Rhoda.
But what are your favs?
Does The Mary Tyler Moore show work for you – or perhaps was it Happy Days?
WRKP or Good Times?
Welcome Back Kotter or . . . .
So many to choose from – so short is our memory – so let’s take a stroll!
When it comes to the bizarre – the 70s seemed to have a stranglehold on performing artists crying out for some kind – in fact any kind of help.
While the 50′s and 60′s saw the birth of sitcoms such as I Love Lucy, The Honeymooners and Mr Ed – the 70′s certainly took television comedy to new highs (and lows).
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