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cinemacouture · 8 months

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A Clockwork Orange (1971, dir. Stanley Kubrick) had Milena Canonero as costume designer in her first gig; the movie also was very low-budget (almost all of it was shot on location rather than in sets), so most of the costumes are off-the rack except for some of Alex's fantasy sequences where I'm sure it's reused period stock.

Canonero's Droog costumes however remains one of the most iconic costume designs in film history; the combination of underclothes, suspenders, old-fashioned hats and cricket codpieces. The asymmetrical makeup calls to mind tribal warriors but also adds a little androgyny (despite them all being vicious misogynists). The final touch is gore prosthetic decorations, such as the eyeballs on Alex's cuffs, that feel like a forerunner to punk fashion. This kind of DIY costume design was also done to excellent effect by Bobbie Mannix on The Warriors and Norma Moriceau on Mad Max 2.

There's some other nasty 'Droog' gangs too; one of the torture sequences (more harrowing cos Kubrick was being a sociopath again and had Malcolm McDowell's eyes being scratched for real) has some other Droogs in different hats, whilst Alex's nemesis 'Billyboy' (played by Richard Connaught) wears a very different kind of Droog uniform; consisting of leather overalls, military wear (especially WWII German military), and clashing colourful frilly shirts.

McDowell also gets to wear a fantastic purple suede and snakeskin jacket - prop sites say it was designed by Canonero, but the first comment on this Propstoreauction youtube video says something different 'I actually sold this coat to Malcolm around september 1970 in Kensington market in London , it is a plum suede and python trim coat designed and made by a young Yugoslavian guy and bought from our stock. the film’s costume designer had no imput. Malcolm chose it. Priced at £120 in 1970, it was the most expensive item in the market'. Interesting - given it only appears in one brief scene, it would make sense that it was bought. He also gets to wear a red and white nightgown that presumably was also off the rack.

As for the rest of the film's outfits? They all scream '1971' and were presumably off the rack. though almost all the women have had their hair dyed in garish colours. I love the red outfits worn by Sheila Raynor as Alex's mother, as well as the vinyl-lined red jumper worn by the unnamed lodger. Also the multicoloured dress worn by the psychiatrist, and the red jumpsuit worn by one of Alex's victims. Also the Milk Bar security who wear spandex unitards with studded belts, for some reason?

There's a couple of fantasy sequences that Alex indulges in, that I'm mostly including so that someone can hopefully indentify which film their costumes are from - he briefly has a fantasy of being a Roman soldier torturing Jesus, as well as being an ancient noble. Then he has one as a soldier in Old Testament battles; again, I highly doubt these were made for the film given the very low budget and the briefness of these fantasy sequences (clips from other movies were used in these fantasy sequences after all), but I did notice the helmets worn by his warriors were familiar - because they had been reused by costume designer James Acheson in the Doctor Who serial 'The Mutants' a year later!

#a clockwork orange #clockwork orange #stanley kubrick #1971 #alex delarge #billyboy #malcolm mcdowell #richard connaught #sheila raynor #dystopia #scifi #science fiction #droogs

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brokehorrorfan · 8 months

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The Warriors will be released on 4K Ultra HD and Blu-ray on December 12 via Arrow Video. Laurie Greasley designed the new cover art for the 1979 action thriller; the original poster is on the reverse side.

Walter Hill (48 Hrs., Deadwood) directs from a script he co-wrote with David Shaber (Nighthawks), based on Sol Yurick's 1965 novel. Michael Beck, James Remar, Deborah Van Valkenburgh, Marcelino Sánchez, and David Harris lead the ensemble cast.

The limited edition set comes with a 100-page book featuring new writing by film critic Dennis Cozzalio plus archival material, a double-sided poster, six art carts, and gang logo stickers.

Both the theatrical cut and the 2005 alternate version have been newly restored in 4K from the original camera negative, approved by Hill, with Dolby Vision. The theatrical cut is presented in its original 1.85:1 with original uncompressed mono, stereo 2.0, and Dolby Atmos audio. The alternate cut has stereo 2.0 and DTS-HD MA 5.1 audio.

Special features for the two-disc set are listed below, where you can also see more of the packaging and contents.

Disc 1 - Theatrical Cut:

Audio commentary by A Walter Hill Film author Walter Chaw (new)

Isolated score option

Interview with director Walter Hill (new)

Roundtable discussion on The Warriors with filmmakers Josh Olson (A History of Violence), Lexi Alexander (Green Street), and Robert D. Krzykowski (The Man Who Killed Hitler and then Bigfoot) (new)

Interview with editor Billy Weber (new)

Interview with costume designer Bobbie Mannix (new)

Costume designs and photographs from the archive of designer Bobbie Mannix (new)

Sound of the Streets - An appreciation on Barry De Vorzon's The Warriors score by film historian Neil Brand (new)

Filming location tour (new)

The Beginning - Making-of featurette with director Walter Hill, producer Lawrence Gordon, actor James Remar, and editor David Holden

Battleground - Featurette on shooting in New York City with director Walter Hill and assistant director David O. Sosna

The Way Home - Featurette on the look of the film with director of photography Andrew Laszlo

The Phenomenon - Featurette on the film's legacy with director Walter Hill and cast members

Theatrical trailer

Image gallery

Disc 2 - Alternate Version:

Introduction by director Walter Hill

Also included:

100-page book with new writing by film critic Dennis Cozzalio plus archival material

Double-sided fold-out poster with original and new art

6 postcard-sized art cards

Gang logo stickers

In New York the gangs outnumber the cops by 5-1. Together, they could rule the city. Gang-leader Cyrus has a dream to do just that and calls a summit. The gangs of New York gather in their thousands, Cyrus takes the stage. From somewhere in the crowd a shot rings out and Cyrus falls down dead. In the chaos that follows, a small gang from Coney Island – the Warriors – are blamed. Now everyone is out to get them. On foot, in enemy territory, can they make it through the night to get back across the city to the safety of home turf?

Pre-order The Warriors.

#the warriors #walter hill #james remar #michael beck #david harris #70s movies #1970s movies #exploitation #arrow video #dvd #gift #laurie greasley #sol yurick

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ediths-shades · 3 years

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The Long Riders (1980).

Costume design by Bobbie Mannix.

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kwebtv · 2 years

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Character Actor

Richard Bakalyan (January 29, 1931 – February 27, 2015) Film and television actor who started his career playing juvenile delinquents in his first several films.

Bakalyan has appeared on numerous television shows from the 1950s through the 2000s. Early small screen performances came in Panic!, The Life and Legend of Wyatt Earp, The Many Loves of Dobie Gillis, Hawaiian Eye and The Untouchables. In 1966, he played Sgt. Piper on the World War II drama Combat! in the 4th season episode" Gitty". Later he appeared in a variety of shows, including Batman, Mannix, Love, American Style, Kojak, The Bionic Woman, Charlie's Angels, Hill Street Blues, Emergency! (1977 S6-E15), where he starred as Charley a fire apparatus mechanic and the NBC comedy series My Name Is Earl, which was his last screen effort in October 2008.

In 1968, Bakalyan was featured in "Way Down Cellar," a two-part story on Walt Disney's Wonderful World of Color. He was a regular on Dean Martin Presents: The Bobby Darin Amusement Company (1972) and The Bobby Darin Show (1973). (Wikipedia)

#Richard Bakalyan #TV #Character Actor #Dean Martin Presents: The Bobby Darin Amusement Company #The Bobby Darin Show

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busterkeatonfanfic · 2 years

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Chapter 40

He slipped. It was as though he was on a toboggan at the top of a snow-covered hill trying to plot the best way down when it teetered and went over the edge. He had no control over its course and could only hope that he wouldn’t hit a tree or a boulder as he sped to the bottom.

On his way down, he ran into Dorothy. She was about the only good thing about the slip. Otherwise, it all stank: Weingarten’s film, Mayer’s lecture about taking the fall for Lew Cody, M-G-M’s refusal to let him make a sound picture, and Natalie’s increasing threats (when he bothered to come home) to leave him. He felt totally powerless over all of it. The Cameraman was a hit but it hadn’t made a damn bit of difference to Thalberg in the end. Lloyd and Chaplin were right after all and he was too late to change it.

So it didn’t seem to matter if it was hard to get through the day without several long nips from the flask that was always in his jacket pocket or that he was never sober after seven p.m. He told himself that everyone drank, and everyone did—at least when the day’s shooting was done and they were at a restaurant or a party at someone’s palace or the bungalow, playing bridge. He was just enjoying himself like everyone else. Maybe it was more difficult to get up in the mornings and maybe the headaches were all but impossible to shake nowadays, but that could have been the long hours of filming.

How fast a person could slip. How fast they could fall.

When had the Talmadges threatened him? Spring? Summer? The months blurred together. The idea that he had once been afraid of them almost made him laugh. He couldn’t remember why he’d been so convinced that some topless photos of a girl and a single a photo of him almost in the buff spelled certain ruination. M-G-M had Eddie Mannix and Howard Strickling to sweep all the messes under the rug. If rumors buzzed around about him and Dorothy, well, it didn’t concern him. The Cameraman was making M-G-M an extremely pretty penny and Louie Mayer could kiss his fanny. He was The Boy That Couldn’t Be Damaged again.

It was a Saturday night in November when he realized he’d slipped beyond a doubt. He’d gone to pick Dorothy up from Carmelina Drive and was an hour late for his own party at the Villa. She lived in a humble single-story bungalow which caused him a peculiar twinge the first time he saw it. It looked a little like the first house he’d built for Natalie. It looked a little like Nelly’s castle in the air. There was a small piano by the fireplace, a low sofa where they got up to mischief, and a Victrola painted gold, red, and black. He liked Dorothy tremendously. She was good at bridge, good in bed, and good fun all around, even if she wasn’t good at holding her liquor. When they were both at the studio, she knew not to interrupt him if the dressing room door to his bungalow was closed. Likewise, he pretended not to know that she sneaked over to Tom Mix’s sometimes when Vicki was away. Oddly, the lack of attachment made him like her all the more.

She was drunk already when he arrived. He could tell because she was giggling an inordinate amount and the Alabama accent she worked so hard to suppress was surfacing every few words. It was taking her a very long time to get ready. She lost her lipstick halfway through putting it on, forgot what she was doing, and sat on his lap to neck. She made him a drink, then a second and a third. Finally she put on her heels and said that they could go.

He knew he was playing with fire, showing up to his own party with this glamorous woman who’d left the smell of her perfume all over his collar. The I-was-just-giving-a-co-star-a-ride excuse was as feeble as one of Bobby or Jimmy’s lies when they were caught doing something naughty. He knew it was wrong to deliberately humiliate Nate like this, but he couldn’t help himself. He couldn’t seem to act rationally anymore when it came to her. He knew he was making her more and more miserable, that this wasn’t the path back into her good graces. He just wanted her attention. In some unexamined corner of his mind, he imagined that if he hurt her enough, she’d break down and beg for a reconciliation.

It was only a twenty-minute drive to the Villa, but he was drunk and Dorothy was drunk. He had his hand in her décolletage and her mouth was somewhere not fit to print, and that was why he smashed his car straight into the back of another at a stop sign. It dazed him so much (and maybe the drinks and Dorothy’s lips had something to do with it as well) that he’d only had time to tuck himself back into his trousers before the other driver had strode up to his window to yell at him for wrecking his car and frightening his wife.

“I’m sorry,” he managed.

The anger left the driver’s face as a look of recognition hit him. “You Buster Keaton?”

“He didn’t mean to. We’re doing a picture together,” Dorothy said with a giggle. The neckline of her dress was back in place again, but her cheeks looked flushed even in the dark and her lipstick was a mess.

“It’s me,” Buster said. He rubbed the back of his neck and hoped the guy wouldn’t notice his unbuttoned pants. “I’m awful sorry. I’ll make good on it. I’ll get you a new one, a better one.”

“You’d better, it was new in July,” said the guy, looking them both over. “I’m Lionel Aldrich, by the way.”

Buster looked at him—brown hair, brown mustache—and drew a blank. He was still dazed.

“You know, The LA Times?”

He shook his head.

“I write for it.”

Even dazed, he knew where this was heading. Leave it to him to rear-end a god damn journalist. “Let’s pull off to the side,” he said, noticing headlights approaching from behind them. The front end of his Lincoln and the rear end of Lionel’s Chevrolet were crumpled in like tin cans, but they were drivable.

They stood in the glare of Buster’s headlights and Lionel scribbled notes on a pad of paper. Dorothy leaned into the passenger side of the Chevrolet talking to Lionel’s wife. He knew not to trust journalists but didn’t see any way out of it. They talked about Spite Marriage. He told Lionel about the party. He shivered when the wind picked up. It was cold and he had a sudden memory of Nelly shivering in the grass the previous October and putting his jacket over her shoulders. The cold had bitten through the cotton in his shirt when he’d taken it off, but kissing her there in the grass he’d been suddenly oblivious to the chill in the air. He wondered now what had happened to the jacket, what had happened to Nelly—why he’d let some silly photographs end it with her.

He cut Lionel a check for twice what the car was worth, shook hands with him, and got back into the Lincoln. The buckled hood made it hard to see the road. Dorothy ran her fingers up his thigh and he told her to keep her hands to herself, feeling uncharacteristically sharp.

They walked through the mahogany door like they both owned the place. Some might have pointed out that he actually did, but knew at last that he didn’t. Never had. If his guests were surprised to see Dorothy on his arm, they didn’t say so. She’d gotten her make-up back in order, but they might have both been painted with scarlet letters for as innocent as they looked. He deposited her with Tom Mix and went to find a drink. He didn’t bother looking for Nate. If she hadn’t seen him when he’d walked in with Dorothy, she’d soon find out one way or another.

He never found out what kind of spin Lionel put on the crash, innocent or sordid, but there was a copy of The LA Times on the breakfast table the next morning which told him Nate must have read it regardless. His body was one ripe ache beneath his dressing gown. Every single part of it hurt, down to his fingertips. He must have put his hands out in the impact and jammed them against the dashboard.

Natalie swept into the room as he was tilting a cold pitcher of coffee to a cup. She didn’t look sad and broken as she had on the morning Dutch and Norma had confronted him about Nelly. She looked pale and furious.

He bit into a cold piece of toast. He could only guess she’d forbade the cook not to fix him a hot breakfast.

“Get it over with,” he said, chewing, hurting.

“What am I supposed to say?” she said. She stared at him. He was sure he’d seen more affection in her gaze when she’d laid eyes on the Jerusalem crickets Jimmy and Bobby once let loose in the house. “What could I possibly say that would get through to you?”

He drank his cold coffee and shook his head. Everything ached. He looked away from her eyes and down at the bitten piece of toast.

“If you’re through, say you’re through,” he said.

“I’m getting close,” she warned him. Beatrice’s life was one big thrill, whether it was having a sumptuous breakfast in her room at the Blackstone with Harry wearing nothing but a robe or going out with “the gang” (how she thought of her fellow cast members) for Chinese food after rehearsals. Beatrice was gay, unconcerned, and somewhat hedonistic. She ate more decadent meals and drank more booze in two months than Nelly had in the previous ten years. She didn’t depend on booze as Harry did, it was simply ever-present at the clubs on Friday and Saturday nights and Harry always had a flask of gin to share. Beneath his handsome exterior, she’d found, he wasn’t confident with women. The gin gave him the shine he felt was lacking. Nelly didn’t particularly like it, but she wasn’t invested in him enough to lecture him on it. It wasn’t just that he drank too much; his humor was lousy. His corny jokes (“What’s the color of wind? Blew!”) made her groan. It was enough for Beatrice that he was handsome and diverting. She didn’t want more. Back home in Evanston reflecting on the days preceding, Nelly would feel a little guilty about stringing him along, but Beatrice never did. Beatrice hung on Harry’s neck while the jazz band played what seemed like, in her liquored haze, an endless loop of “Sweet Georgia Brown” and ended the night with him at the Blackstone or at his apartment on the third floor of a red Victorian row house in North Town, never feeling the slightest prick of conscience.

When Beatrice finally looked out of the wings into an almost full house on Friday the 23rd, she felt as far away from Nelly as it was possible to be. Maybe it was the Elizabethan gown with its heavy shimmering pale green skirt and bodice trimmed in pink and gold ribbon, maybe it was Harry in full Don Pedro costume, peeping over her shoulder, but she felt so queer it was like being outside of herself. She knew that out in the sea of faces rendered shadowy and indistinct by the footlights was Ruth, sitting slightly left of center stage, her only anchor amidst the coat tails, pearls, and furs.

“Nervous?” said Harry.

She turned away from the curtains and he kissed her cheek. “I don’t know,” she said truthfully. She felt luminescent, fluttery, like she might float away like a balloon if someone didn’t tie her down soon.

Yet as soon as the lights went up and she walked out onto the stage with John, Hattie, and Leo (playing the messenger before he drew on his Don John costume) she forgot that there was an audience at all. There was only Don Pedro, Claudio, and Benedick three leagues off and her ambitions of besting Benedick in a battle of words before he could get the advantage of her.

She barely felt how hot the footlights were or heard the audience’s applause. There was a masked ball to attend, a wedding to organize, a foul plot to uncover, a misunderstanding to sort out, and love to pledge.

At the end of nearly three hours, she and Eugene stepped to the edge of the footlights and bowed, followed by Hattie and Fred, then John, Harry, and Leo, then the supporting cast. She had done it. She had done it and it was easy.

An hour hence, they were all at the jazz club on Randolph whose name (Mangioli’s? Morelli’s?) she could never remember. Ruth was spending the night at the Blackstone with her and had tagged along, Violet old enough now to get by with some Clapp’s baby food and goat’s milk administered by the new part-time nanny. The gay atmosphere was infectious and the gin plentiful. Eugene was performing one of his soliloquies for the benefit of the other club patrons:

I do much wonder that one man, seeing how much

another man is a fool when he dedicates his

behaviors to love, will, after he hath laughed at

such shallow follies in others, become the argument

of his own scorn by failing in love: and such a man

is Claudio.

They roared at him when he was finished, clapping for more, and Harry pulled her into his lap to kiss and nuzzle her cheek. Ruthie caught her eye and raised an eyebrow. Nelly held up her hands helplessly.

Some time later, perhaps a half hour, Benedick pulled her off of Harry’s lap into the middle of the floor and gestured for the band to stop playing.

“By my sword, Beatrice,” he remarked in astonishment, “thou lovest me.”

She laughed, not in character yet. He was making her act with him. “Do not swear, and eat it,” she said with a giggle.

“I will swear by it that you love me; and I will make

him eat it that says I love not you.”

They ran through the rest of the scene and she took her second bow of the night as their informal audience applauded them. Laughing, she scooped up another Gin Rickey from the bar as the band launched into a rendition of “Muskrat Ramble.” Ruthie caught her eye again and Nelly joined her.

“Benedick seems like he’s quite fond of you,” she said, looking across the room to Eugene, who had joined Hattie and Fred at a table.

She laughed incredulously. “Eugene? He’s not the kind who goes for girls,” she says. “We’re just pals.”

Ruthie’s features relaxed a little, but not all the way. “Your Harry’s head over heels, though.”

They had spoken about Harry before, but never at any great length. “Is he?” she said with surprise. She was in the grip of the gin and felt that anything was liable to come out of her mouth.

“Don’t pretend you don’t see it,” Ruthie said.

Both of their gazes went to Harry, who was talking to a clarinet player from the band and miming playing the instrument.

“God, Ruthie, he’s so dull,” she said. “I suppose he is in love with me, but sometimes I think I’m going to die of boredom when we’re not in bed. His jokes are just awful.”

“What will you say if he asks you to marry him?”

“Marry me?” she said, now completely taken aback. “We’ve only known each other two months, he’s not going to ask me to marry him.”

At that moment, Harry turned toward her and winked.

“Don’t be so sure,” Ruthie said, giving her a knowing look.

“You heard what Leonato said. I mock all my wooers out of suit. Just look at what happened to Halitosis Harold.”

That made Ruthie laugh, and before long Ruthie was dancing with Leonato himself and they were all very merry into the early hours of the morning that it felt nothing at all was missing from her life, least of all a husband.

#Buster Keaton #Fan fiction #RPF #Actor RPF #Golden Age Hollywood #Silent film #Dorothy Sebastian

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planetdancemixshowbroadcast · 5 years

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#PDMB 590 codinome=bangthedrum

Part#1 Keanu Silva - Fine day (Dave N.T. Remix) Garmiani ft. Sanjin vs Oleg Perets & Ivan Flash - Jump & sweat (DJ Roma Mixon Mashup 2015) SeeB x Bastille - Grip (Jay Pryor Remix) DJ DimixeR ft. Cali Fornia - Cool & young (DJ DNK Remix) EDX - Who cares (Extended Vocal Mix) Rico Bernasconi & Tuklan ft. A-Class & Sean Paul - Ebony eyes (Club Mix) RetroVision - Up & down

Part#2 SaberZ - Sounds like Michael Mind Project - Unbreakable (Jerome Remix) Armin Van Buuren vs BSNO vs Afrojack & Hardwell vs Sebastian Ingrosso & Tommy Trash ft. John Martin - Ping pong vs Cielito lindo vs Hollywood vs Reload (Hardwell EDC Mexico '17 Mashup) Alex M. vs Marc van Damme - Bang the drum Steve Aoki ft. Ina Wroldsen - Lie to me (Maurice West Extended Mix) Jenil, Window & Richie Loop - Ambak Bobby Rock - Make noise Kevu & Vorwerk - Night at the opera Broz Rodriguez - Tequila (Cesar Mannix Remix) Daffy Muffin - Selecta Jewelz & Sparks - Bring it back (Afrojack x Sunnery James & Ryan Marciano Extended Edit) Dirtcaps - Triple beam

Timmo Hendriks & Lindequist ft. Robin Vane - Magical

#bangthedrum

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yahoosports · 7 years

Video

The Vertical on Yahoo Sports Hosts 2nd Annual Live NBA Draft Show

By Alan Springer, Executive Producer for Yahoo Sports

The 2017 NBA Draft is mere days away and on Thursday, June 22 Yahoo Sports and The Vertical team are back with a live NBA Draft show. Hosted in-studio by Chris Mannix and featuring former Indiana head coach Tom Crean, tune-in for exclusive breaking news and live reporting from The Barclays Center by Adrian Wojnarowski.

Starting at 6:30 p.m. ET live from the Times Square studios in New York, the team will be breaking news on draft picks and trades and providing fans with exclusive interviews. Joining Mannix in-studio will be The Vertical’s front-office insider Bobby Marks – a 20-year NBA executive – to analyze the decisions made by each team, as well Tom Crean who will provide expert player analysis and Mike Schmitz from DraftExpress to provide big board video analysis of college and international prospects.

Throughout the show, we’ll check in with Woj, Shams Charania, and DraftExpress’ Jonathan Givony as they gather exclusive information on picks and trades from front offices around the league.

The show will be streamed live on The Vertical, Yahoo Sports and across social media accounts.

When: Thursday, June 22, 6:30 p.m. ET to the conclusion of the First Round (approximately 9:00 p.m. ET)

Who: Adrian Wojnarowski, Chris Mannix, Former Indiana coach Tom Crean, Shams Charania, Bobby Marks, Jonathan Givony and Mike Schmitz

Where: The Vertical

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costumeloverz71 · 2 years

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The Nine Sisters.. Xanadu (1980).. Costumes by Bobbie Mannix.

#the nine sisters #xanadu #bobbie mannix

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flauntpage · 6 years

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Your Thursday Morning Roundup

Happy Draft night everyone! The Sixers got things started last night with a trade of one of their second round picks to the Lakers for a future second round pick!

The Lakers have acquired the 39th pick in Thursday’s Draft from the 76ers, league source tells ESPN. Lakers will send Philly its 2019 second round pick via Bulls and cash.

— Adrian Wojnarowski (@wojespn) June 21, 2018

As ESPN’s Bobby Marks points out, this trade would be official on July 6 since the Sixers have already received the allocated $5.1 million for the season. That’s really all the second round pick stuff for now.

As for the first round, most of the mock drafts have the team taking Mikal Bridges at 10. However, it appears Bridges is at the top of the Knicks’ big board at nine.

Sources have indicated Bridges still is the favorite to be the Knicks’ selection with the ninth pick in Thursday’s draft — even if Michael Porter Jr. falls. The Knicks are starting to get cold feet on the uber-talented Porter after his latest mishap last week, when he incurred hip spasms before his on-again, off-again, on-again public workout in Chicago.

So if Bridges isn’t available, expect the Sixers to take a look at Zhaire Smith at 10:

Hearing Sixers very interested in @zhaire_smith with the 10th pick, sources said. He worked out with the Sixers twice. https://t.co/UJw55t2I0w

— Marc J. Spears (@MarcJSpearsESPN) June 21, 2018

I think picking him at #10 is a little too high, so a possible trade to move down would be better.

As for the Sixers potentially moving up, there’s no new rumors on that front. That’s because their preferred target, Luka Doncic, might not go at #4 at all.

Per league sources, there is legitimate indecision within the #Kings front office between Marvin Bagley III and Luca Doncic. One league source used the word “torn.” Teams I’ve spoken with are operating under the impression that #Sacramento will select Bagley at two. #NBADraft

— Jordan Schultz (@Schultz_Report) June 20, 2018

Luka Doncic continues to be a strong candidate in Sacramento at No. 2, league sources told @YahooSports. And something else worth remembering here: Doncic is a pretty safe pick, and would be a popular one in Sacto.

— Chris Mannix (@ChrisMannixYS) June 21, 2018

Michael Porter Jr. is reportedly a “wild card” in this situation, per Schultz.

What about Atlanta and the #3 pick? There’s heavy interest there, and the Hawks are looking to move back in order to get a potential Sixers target:

Atlanta has explored moving back in the draft, with an eye on OU’s Trae Young, league sources told @YahooSports. Hawks have fielded numerous calls for the No. 3 pick.

— Chris Mannix (@ChrisMannixYS) June 21, 2018

League sources say that Orlando has been especially aggressive in talks with Atlanta for No. 3, offering No. 6 and at least one future first round pick. https://t.co/5siE49f7jP

— Jake Fischer (@JakeLFischer) June 21, 2018

And Memphis is talking to multiple suitors about the #4 pick. There’s at least seven teams interested in Jonathan Givony’s report, including the Knicks and the Celtics. If a trade occurs, Chandler Parsons would probably be on the move.

Speaking of the Knicks, they’re one of those teams interested in the #4 pick. And that’s because they want Mo Bamba:

Members of the Knicks organization met in-person with Texas’ Mohamed Bamba in New York today, team sources told ESPN. The meeting is an indication that the Knicks are considering trading up from the No. 9 pick. Bamba is projected as the fifth pick in ESPN's latest mock draft.

— Ian Begley (@IanBegley) June 20, 2018

He’s projected to go around #5 to the Dallas Mavericks.

Draft starts at 7 PM on ESPN. The Phoenix Suns have the #1 pick and are expected to take center Deandre Ayton out of Arizona.

In non-draft news, people want Molly Sullivan back.

The Roundup:

The Phillies got a much-needed 4-3 bounce-back win yesterday afternoon, and the bullpen didn’t blow up. They pitched three shutout innings after Jake Arrieta gave up three runs on four hits in six innings with five strike outs. He gave up a two-run homer in the sixth inning to Yadier Molina with a 3-1 lead, his second of the afternoon. So maybe the bullpen is a strength, as Gabe Kapler said on WIP yesterday morning.

Odubel Herrera gave the Phils the lead on a solo shot in the seventh. Cesar Hernandez hit a two-run dinger in the bottom of the third.

They’re off today but start a weekend series with the Nationals on Friday.

As for some injured Phils, J.P. Crawford won’t need surgery and Jerad Eickhoff will have a bullpen session Saturday:

The righthander had a cortisone shot two weeks ago to knock out inflammation in his wrist, which doctors believed had caused the discomfort. He threw only fastballs on Tuesday and will throw breaking balls in his bullpen session on Saturday in Washington.

“That’s a big test. I am cautiously optimistic that I won’t feel anything,” said Eickhoff, who will need to throw a couple of bullpen sessions before starting a rehab assignment. “One step at a time. We checked one box yesterday. We’ll check another one Saturday.”

Meanwhile, the Phillie Phanatic is mired in some controversy after he accidentally hit a woman with a hot dog via his wiener cannon.

The Flyers didn’t win an award at last night’s NHL Awards ceremony. Sean Couturier finished second in Selke Trophy voting (best defensive forward), and Claude Giroux finished..fourth…in Hart Trophy voting (league MVP). Giroux was named to the NHL’s 2nd All-Star team.

The league also announced home openers for all 31 teams. The Flyers will start their season in Vegas against the Golden Knights on October 4th. Their home opener is October 9th against the San Jose Sharks. The rest of the schedule gets released later today.

The NHL Draft is tomorrow night. And Wayne Simmonds could be on the move.

Shayne Gostisbehere threw the first pitch at the Phils game yesterday:

Killer 1st pitch. Thanks @Phillies for having us

pic.twitter.com/d3DrVqi0vH

— Philadelphia Flyers (@NHLFlyers) June 20, 2018

You can actually win an authentic Eagles Super Bowl ring!

Matt Jones has a chance to revive his career with the Eagles, and he’s impressed so far during OTAs and mini camp.

Defensive tackle, linebacker, and safety could use some more depth on the Eagles’ roster.

In other sports news, Portugal eliminated Morocco, Uruguay eliminated Saudi Arabia, and Spain edged Iran in yesterday’s World Cup action. Today, Denmark drew Australia, France plays Peru, and Argentina squares off against Croatia.

The Crossing Broad FC gang recaps Matchday 1 results at the FIFA World Cup.

The Lakers warned their staff about tampering.

Former WWE wrestler Vader passed away at the age of 63.

In the news, possible explosive devices were found in a storage facility in the Lehigh Valley.

The White House wants to merge the Labor and Education departments. Huh?

Scientists believe they can recreate dinosaurs within the next five years. I’d be down with that.

The post Your Thursday Morning Roundup appeared first on Crossing Broad.

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blackkudos · 7 years

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Lou Rawls

Louis Allen "Lou" Rawls (December 1, 1933 – January 6, 2006) was an American recording artist, voice actor, songwriter, and record producer. He is best known for his singing ability: Frank Sinatra once said that Rawls had "the classiest singing and silkiest chops in the singing game". Rawls released more than 60 albums, sold more than 40 million records, and had numerous charting singles, most notably his song "You'll Never Find Another Love Like Mine". He worked as a television, motion picture, and voice actor. He was also a three-time Grammy-winner, all for Best Male R&B Vocal Performance.

Career

Rawls was born in Chicago on December 1, 1933, and raised by his grandmother in the Ida B. Wells projects on the city's South Side. He began singing in the Greater Mount Olive Baptist Church choir at the age of seven and later sang with local groups through which he met future music stars Sam Cooke, who was nearly three years older than Rawls, and Curtis Mayfield.

After graduating from Chicago's Dunbar Vocational High School, he sang briefly with Cooke in the Teenage Kings of Harmony, a local gospel group, and then with the Holy Wonders. In 1951, Rawls replaced Cooke in the Highway QC's after Cooke departed to join The Soul Stirrers in Los Angeles. Rawls was soon recruited by the Chosen Gospel Singers and moved to Los Angeles, where he subsequently joined the Pilgrim Travelers.

In 1955, Rawls enlisted in the United States Army as a paratrooper in the 82nd Airborne Division. He left the "All-Americans" three years later as a sergeant and rejoined the Pilgrim Travelers (then known as the Travelers). In 1958, while touring the South with the Travelers and Sam Cooke, Rawls was in a serious car crash. Rawls was pronounced dead before arriving at the hospital, where he stayed in a coma for five and a half days. It took him months to regain his memory, and a year to fully recuperate. Rawls considered the event to be life-changing.

Alongside Dick Clark as master of ceremonies, Rawls was recovered enough by 1959 to be able to perform at the Hollywood Bowl. His first 2 single releases were 'Love, Love, Love' and 'Walkin' (For Miles') on Herb Alpert's Shar-Dee label in 1959-60, then 2 more in 1960-61 on Candix with 'In My Little Black Book' and '80 Ways'. He was signed to Capitol Records in 1962, the same year he sang the soulful background vocals on the Sam Cooke recording of "Bring It On Home to Me" and "That's Where It's At," both written by Cooke. Rawls himself charted with a cover of "Bring It On Home to Me" in 1970 (with the title shortened to "Bring It On Home").

Rawls' first Capitol solo release was Stormy Monday (a.k.a. I'd Rather Drink Muddy Water), a jazz album with Les McCann in 1962. The next two Capitol releases did well and used Onzy Matthews as the musical director along with a 17-piece big band; both these albums (Black and Blue, Tobacco Road) charted with Billboard and helped to propel him into the national spotlight as a recording artist.

Though his 1966 album Live! went gold, Rawls would not have a star-making hit until he made a proper soul album, appropriately named Soulin', later that same year. The album contained his first R&B #1 single, "Love Is a Hurtin' Thing". In 1967 Rawls won his first Grammy Award for Best R&B Vocal Performance, for the single "Dead End Street." In 1967, Rawls also performed at the first evening of the Monterey International Pop Music Festival.

In 1969, the singer was co-host of NBC's summer replacement series for the Dean Martin Show along with Martin's daughter, singer Gail Martin.

After leaving Capitol in 1971, Rawls joined MGM, at which juncture he released his Grammy-winning single "Natural Man" written for him by comedian Sandy Baron and singer Bobby Hebb. He had a brief stint with Bell Records in 1974, where he recorded a cover of Hall & Oates' "She's Gone." In 1976, Rawls signed with Philadelphia International Records, where he had his greatest album success with the million-selling All Things in Time. The album produced his most successful single, "You'll Never Find Another Love Like Mine", which topped the R&B and Adult Contemporary charts and went to number two on the pop side, becoming Rawls' only certified million-selling single in the process.

Subsequent albums, such as 1977's When You Hear Lou, You've Heard It All yielded such hit singles as "Lady Love". Other releases in the 1970s included the classic album Sit Down And Talk To Me.

Rawls' 1977 Grammy Awards performance of "You'll Never Find" was disrupted by a coughing fit.

In 1982, Rawls received a star on the Hollywood Walk of Fame.

He sang the lyrics to WGN-TV's 1983 "Chicago's Very Own" ad campaign, a slogan that the station still uses to this day.

The first African-American astronaut in history, Guion Bluford took the Lou Rawls album "When The Night Comes" (Epic records 1983) into space with him featuring the hit single "Wind Beneath My Wings". On January 19, 1985, he sang Wind Beneath My Wings at the nationally-televised 50th Presidential Inaugural Gala the day before the second inauguration of Ronald Reagan. He was introduced by Patricia Neal.

In 1989, he performed vocals for "The Music and Heroes of America" segment in the animated television miniseries This is America, Charlie Brown.

"The Star-Spangled Banner"

On the night of September 29, 1977, Rawls performed the national anthem of the United States prior to the Earnie Shavers-Muhammad Ali title fight at Madison Square Garden. He would be requested to sing the anthem many times over the next 28 years, and his final performance of it came in his hometown of Chicago. Rawls was asked to sing the national anthem to kick off Game Two of the 2005 World Series between the Chicago White Sox and Houston Astros at U.S. Cellular Field. A lifelong fan of his hometown Chicago White Sox and Chicago Bears, he was said to be "out of this world" thrilled and honored at the chance to sing the anthem and to see his boyhood south-side idols play in a World Series at the same time. Though tired, very ill, and seemingly knowing this could be one of his final performances, his rendition of The Star-Spangled Banner on the evening of October 23, 2005 is said to be one of the most moving performances of his career. He had also sung the national anthem at two previous World Series games and one NLCS (National League Championship Series) game: the 1982 World Series opener between the St. Louis Cardinals and Milwaukee Brewers and Game Three of the 1985 World Series between the Cardinals and the Kansas City Royals, and Game 6 of the 1987 NLCS between the Cardinals and the San Francisco Giants. All three games were played at Busch Memorial Stadium in St. Louis.

Honors and charity work

In 1980, Rawls began the "Lou Rawls Parade of Stars Telethon" which benefits the United Negro College Fund. The annual event, known since 1998 as "An Evening of Stars: A Celebration of Educational Excellence", consists of stories of successful African-American students who have benefited from and/or graduated from one of the many historically black colleges and universities who receive support from the UNCF, along with musical performances from various recording artists in support of the UNCF's and Rawls' efforts. The event has raised over US$200 million in 27 shows for the fund through 2006.

In January 2004, Rawls was honored by the United Negro College Fund for his more than 25 years of charity work with the organization. Instead of hosting and performing as he usually did, Rawls was given the seat of honor and celebrated by his performing colleagues, including Stevie Wonder, The O'Jays, Gerald Levert, Ashanti, and many others. His final television performance occurred during the 2005-2006 edition of the telethon, honoring Stevie Wonder in September 2005, just months before entering the hospital and after having been diagnosed with cancer earlier in the year. This program, aired in January 2006, contains his final public television performance, where he performed two classics, "You Are the Sunshine of My Life" and a final ode to Frank Sinatra with "It Was A Very Good Year".

At the time of Rawls' death, news and UNCF figures noted the significance of his final performance, "It Was a Very Good Year." The song is a retrospective of one's life and its lyrics include, "When I was seventeen, it was a very good year. It was a very good year for small town girls and soft summer nights.... And now those days grow short, it is the autumn of years, and now I think about life as vintage wine from fine old kegs, from the brim to the dregs, it pours sweet and clear, it was a very good year."

Acting career

Rawls appeared in a segment aired during the first season of Sesame Street, to sing the alphabet. He dismissed the concept of using cue cards for the performance, but reversed that decision when he forgot the order of the letters.

Throughout Rawls' singing career, he had the opportunity to appear in many films, television shows, and commercials. His first acting credit was in the western television series The Big Valley (starring Barbara Stanwyck, along with Lee Majors and Linda Evans). Here he delivered the memorable line, "Ain't a horse that can't be rode; ain't a man that can't be throwed." He can be seen in such films as Leaving Las Vegas, Blues Brothers 2000, and Angel, Angel, Down We Go. He had a role and sang some of his songs in Lookin' Italian, an independent mafia film. He had a supporting role in the Baywatch spin-off, Baywatch Nights. He guest-starred as a singer framed for and targeted for murder in a 1972 episode of Mannix.

Rawls lent his rich baritone voice to many cartoons, including Hey Arnold! as the voice of Harvey The Mailman, Garfield, Captain Planet and the Planeteers as the voice of Dr. Rice in the season 3 episode "Guinea Pigs", and The Proud Family (also appearing in animation form in one episode). For many of the Film Roman Garfield specials, Rawls would often compose songs for them, which he would then sing usually doing a duet with Desiree Goyette, as well as the singing voice of the title character himself.

For many years, he was a spokesperson for the Colonial Penn Life Insurance Company, helping promote the brand on radio and TV to African-American markets much as Ed McMahon did for the white audience (and Alex Trebek continues to do to this day). He was also a spokesman for brewing companies. First appearing in television and radio commercials in the mid-to-late 1960s for Spur Malt Liquor, a Rainier Brewing Company product out of Seattle, he later appeared in a number of Budweiser advertisements. Budweiser was a key sponsor for the Rawls telethon and UNCF. There was no attempt to avoid the similarity between the title of the 1977 album When You've Heard Lou, You've Heard It All and his corporate sponsor's slogan "When You Say Budweiser, You've Said It All". A track on the 1978 album Lou Rawls Live, features Rawls singing the commercial slogan. Anheuser-Busch, the brewers of Budweiser, also suggested his telethon work to him.

Rawls was also a regular guest host on "Jazz Central", a program aired on the BET Jazz cable channel.

He appears as "Dr. Rawls" in a dream on an episode My Wife and Kids in which he breaks into a parody version of "You'll Never Find Another Love Like Mine" when a frightened Damon Wayans is afraid of having a colonoscopy the following day. Rawls uses the scope as a microphone in the scene. Rawls appears as a commentator in the second half of both the rated and unrated versions of the commentary for Anchorman: The Legend of Ron Burgundy DVD commentary track, despite having nothing to do with the film itself. During the track, he indulges the commentators' request, participating in a scatting contest with Will Ferrell.

Rawls also appeared in an episode of Baywatch as a bookie as well as the pilot episode of The Fall Guy as Country Joe Walker.

Lou Rawls appears in action figure form in an episode of Action League Now!, entitled, "Hit of Horror".

Rawls was also a guest star during the second season of The Muppet Show. He also made an appearance on the series finale of Martin.

Billboard Top 50 hit singles

The following is a list of Rawls singles that made the top 50 on the Billboard Hot 100. His first Hot 100 entry was "Three O'Clock in the Morning" in 1965, and his final was "Wind Beneath My Wings" in 1983. In addition to those two, nine other singles peaked at positions below the top 50 on the Hot 100, and additional singles reached the R&B, Adult Contemporary and Bubbling Under charts.

"Love Is a Hurtin' Thing" - 1966, #13 (also #1 R&B)

"Dead End Street" - 1967, #29

"Show Business" - 1967, #45

"Your Good Thing (Is About to End)" - 1969, #18 (sold over one million copies and was awarded a gold disc)

"A Natural Man" - 1971, #17

"You'll Never Find Another Love Like Mine" - 1976, #2 (also #1 R&B and #1 Easy Listening); certified gold for sales of one million copies

"Lady Love" - 1978, #24

Personal life

On December 19, 2005, the Associated Press reported that Rawls tried to annul his two-year marriage to Nina Inman, who had been acting as his business manager, after it was discovered she had made unauthorized transfers amounting to nearly $350,000 from his bank account into an account solely controlled by her. She later stated that she had transferred the funds to protect them from one of Rawls' daughters from a previous relationship.

In December 2005, it was announced that Rawls was being treated for cancer in both his lungs and brain. With his wife of two years by his side, Lou Rawls died from his illness on January 6, 2006, at Cedars-Sinai Medical Center in Los Angeles, California.

Rawls had one son with Inman, Aiden Allen Rawls. He also fathered two daughters: Louanna Rawls, a wardrobe stylist and future Launch My Line contestant, and Kendra Smith, as well as a prior son, Lou Rawls, Jr.

In 2009, Pathway Entertainment announced its intention to feature Rawls as the subject of a biopic, tentatively titled Love Is a Hurtin' Thing: The Lou Rawls Story. Rawls' son, Lou Rawls, Jr., is the author of the script. Isaiah Washington will reportedly play Rawls.

Discography

Albums

1962 Stormy Monday (Blue Note)

1962 Black and Blue (Capitol)

1963 Tobacco Road (Capitol)

1964 For You My Love (Capitol)

1965 Lou Rawls and Strings (Capitol)

1965 Nobody But Lou (Capitol)

1966 Live! (Capitol)

1966 The Soul-Stirring Gospel Sounds of the Pilgrim Travelers (Capitol)

1966 Soulin' (Capitol)

1966 Carryin' On (Capitol)

1967 Too Much! (Capitol)

1967 That's Lou (Capitol)

1967 Merry Christmas Ho! Ho! Ho! (Capitol)

1968 Feelin' Good (Capitol)

1968 You're Good for Me (Capitol)

1969 The Way It Was: The Way It Is (Capitol)

1969 Your Good Thing (Capitol)

1969 Close-Up (Capitol)

1970 You've Made Me So Very Happy (Capitol)

1970 Bring It On Home (Capitol)

1971 Down Here on the Ground/I'd Rather Drink Muddy Water (Capitol)

1971 Natural Man (MGM)

1972 Silk & Soul (MGM)

1972 A Man of Value (MGM)

1973 Live at the Century Plaza (Rebound)

1975 She's Gone (Bell)

1976 All Things in Time (Philadelphia International)

1976 Naturally (Polydor)

1977 Unmistakably Lou (Philadelphia International)

1977 When You Hear Lou, You've Heard It All (Philadelphia International)

1978 Lou Rawls Live (Philadelphia International)

1979 Let Me Be Good to You (Philadelphia International)

1979 In Concert: Recorded with the Edmonton Symphony Orchestra [live] (Dep Entertainment)

1980 Sit Down and Talk to Me (Philadelphia International)

1981 Shades of Blue (Philadelphia International)

1982 Now Is the Time (Epic)

1983 When the Night Comes ( Epic)

1984 Close Company (Epic)

1986 Love All Your Blues Away (Epic)

1988 Family Reunion (Gamble-Huff)

1989 At Last (Blue Note)

1990 It's Supposed to Be Fun (Blue Note)

1992 Portrait of the Blues (Capitol)

1993 Christmas Is the Time (Manhattan)

1995 Holiday Cheer (Cema Special Markets)

1995 Merry Little Christmas (EMI Special Products)

1998 Unforgettable (Going For)

1998 Seasons 4 U (Rawls & Brokaw)

1999 A Legendary Night Before Christmas (Platinum Disc)

2000 Swingin' Christmas (EMI-Capitol Special Markets)

2001 I'm Blessed (Malaco)

2001 Christmas Will Be Christmas (Capitol)

2002 Oh Happy Day (601)

2003 Rawls Sings Sinatra (Savoy Jazz)

2003 Trying as Hard as I Can (Allegiance)

2006 Lou Rawls Christmas (HyLo Entertainment)

Chart singles

Filmography

2000 Jazz Channel Presents Lou Rawls (Image)

2003 In Concert (BMG/Image)

2005 Prime Concerts: In Concert with Edmonton Symphony (Amalgamated)

2006 The Lou Rawls Show: With Duke Ellington & Freda Payne

2007 Live in Concert: North Sea Jazz. 1992-1995 (E-M-S)

Wikipedia

#Lou Rawls

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ediths-shades · 3 years

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The Long Riders (1980).

Costume design by Bobbie Mannix.

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talhaghafoor2019-blog · 5 years

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15 TV Cameos by Music Legends

Davy Jones' solo career never measured up to the Monkeemania that preceded it, but it did have one memorable high point—the time he played himself on a 1971 episode of "The Brady Bunch." Click through for more on that and other musical guest appearances on classic TV shows.

Davy Jones on ‘The Brady Bunch’

A soundman gives Marcia Brady the brush-off when she pops up at a recording studio hoping Davy Jones will perform at her prom. But Davy's still a daydream believer: He drops by the Brady home later to personally accept Marcia's invitation.

Stevie Wonder on ‘The Cosby Show’

Hey, don't blame Stevie Wonder—this was 30 years ago. Denise (Lisa Bonet) and Stevie meet when she has a fender-bender with the Motown legend's limo. He later gives the Huxtables (not including Dad) some lessons in sampling.

The Ramones on ‘The Simpsons’

The band performs a punked-out rendition of "Happy Birthday to Burnsy," but Homer's boss isn't a fan. "Have the Rolling Stones killed," he commands his lackey Smithers, who tries to explain: "Sir, those aren't—" Mr. Burns doesn't want to hear about it: "Do as I say!"

Chad & Jeremy on ‘The Patty Duke Show’

In February 1965, just a week after doing a Beatlemania send-up on "The Dick Van Dyke Show," British folk rockers Chad Stewart and Jeremy Clyde played Nigel & Patrick, an obscure duo that Patty sets out to promote. Of course, Cathy prefers a minuet.

Roy Orbison on ‘The Dukes of Hazzard’

Bo and Luke stumble on a bag containing $1 million. But the important thing here is "celebrity speed trap guest" Roy Orbison performing "Oh, Pretty Woman." Mercy.

Alice Cooper on ‘The Snoop Sisters’

Born Vincent Furnier, Alice was typecast as a demonic rock star called Prince (!) in a 1974 episode of this NBC comedy-mystery. Two decades later, Alice showed his range as an actor, guest-starring as a guardian angel on the CBS sitcom "Pearl."

Bob Dylan on ‘Dharma and Greg’

Dharma's on drums, auditioning for Bob Dylan and "T Bone" Burnett in this 1999 episode, with Dylan on guitar. What induced the elusive legend to make a rare TV appearance on this ABC sitcom? Naturally, Dylan never explained, but he was reportedly friendly with one of the show's writers.

Comedian Andy Millman (Ricky Gervais) gets to meet his hero in a 2006 installment of this BBC sitcom. But the thrill fades when Bowie, inspired by Andy, turns to the piano and composes a new song that starts with "Chubby little loser." Developing the lyrics, Bowie sings: "Pathetic little fat man / No one's bloody laughing …"

Leslie Gore on ‘The Donna Reed Show’

In the series' 1966 finale, the last of 275 episodes, Jeff and Smitty try to persuade Leslie Gore to record their song. It wasn't Gore's last TV role, however. She played Catwoman's sidekick Pussycat on "Batman" in 1967 and herself in a 1998 episode of "Murphy Brown."

Buffalo Springfield on ‘Mannix’

There's something happening here, what it is ain't exactly clear, but the year is 1967 and Mannix heads to "hippieland" in search of a runaway. He wanders into a club where Stephen Stills is singing "Bluebird," backed up by Neil Young.

He plays Rob, a guy Phoebe is dating, in this star-studded episode, which aired after the 1996 Super Bowl. Before it's over, they perform a duet of "Smelly Cat," with Isaac breaking into his trademark falsetto at the end. Phoebe's advice: "I think you might want to, like, pick a more masculine note."

Boy George on ‘The A-Team’

Because of a booking snafu, Boy George shows up to perform at a redneck bar. At first reluctant to play the venue ("a certified toilet"), the Culture Club frontman wins over a surly crowd, helps the A-Team foil a robbery and even kicks down a door before "Karma Chameleon" plays over the credits.

Boyce and Hart (and Phil Spector) on ‘I Dream of Jeannie’

Even if the names Tommy Boyce and Bobby Hart don't ring a bell, you know their work. Boyce and Hart wrote songs for the Monkees, including "Last Train to Clarksville." The duo also appeared on "The Flying Nun" and "Bewitched" as well as this 1967 episode of "I Dream of Jeannie," which includes a cameo by legendary producer Phil Spector four decades before he was convicted of murder.

The Beau Brummels on ‘The Flintstones’

Or make that the "Beau Brummelstones," performing the 1965 hit "Laugh, Laugh" on the "Shindig"-inspired dance show "Shinrock-a-Go-Go." Meanwhile, Fred injures his foot and sits on a pin, which sparks not one but two new dance crazes, "the Frantic" and "the Flintstone Flop."

This content was originally published here.

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