Look Through Any (KV) Window

Look through any window, yeah
What do you see
Smiling faces all around
Rushing through the busy town
Where do they go
Moving on their way
Walkin' down the highways and the byways
Where do they go
Moving on their way
People with their shy ways, and their sly ways
Oh, You can see the little children all around
Oh, You can see the little ladies in their gowns, when you
Look through any window, yeah
Any time of day
See the drivers on the roads
Button down their heavy loads
Where do they go
Moving on their way
A driving down the highways, and the byways
Where do they go
Moving on their way
Drivers with their shy ways, and their sly ways
Oh, You can see the little children all around
Oh, You can see the little ladies in their gowns, when you
Look through any window, yeah
What do you see
Smiling faces all around
Rushing through the busy town
Where do they go
Moving on their way
Moving on their way
Moving on their way

(No) Sugar, (No) Sugar

The other is ok, but stay away from that refined sugar
Sugar, ah honey honey
You are my candy girl
And you've got me wanting you.
Honey, ah sugar sugar
You are my candy girls
And you got me wanting you
I just can't believe the lovliness of loving you,
(I just can't believe it's true)
I just can't believe the one to love this feeling to
(I just can't believe it's true)
Sugar, ah honey hiney
you are my candy girl
and you got me wanting you
honey, ah sugar sugar
you are my candy girl
and you got me wanting you
When i kissed you girl I knew how sweet a kiss could be
(I know how sweet a kiss could be)
Like the summer sunshine pour you sweetness over me
(Pour your sweetness over me)
Pour a little sugar on it honey
Pour a little sugar on it Baby
I'm gonna make your life so sweet, yeah yeah yeah
pour a little sugar on it yeah
pour a little sugar on it honey
pour a little sugar on it baby
I'm gonna make your life so sweet, yeah yeah yeah
pour a little sugar on it honey
Ah sugar, ah honey honey
you are my candy girl
and you got me wanting you
Oh honey honey, sugar sugar..............
You are my candy girl

RIP Soupy Sales

Clifford"Brownie" Brown on Soupy Sales Variety Show (RARE!)
Uploaded by Classic TV and last night's shows, online.
Not only was Soupy very funny but he was an appreciator of good music. Above is clip from one of his shows with a rare live view of the great jazz trumpeter Clifford Brown.

Hennesey

With my memory jogged about Jackie Cooper I was reminded of another favorite sit com, Hennesey. It was one I liked mostly for Abby Dalton and the great theme music and inspired me to make the video below. Jackie and Abby are still alive. Henry Kulky isn't. He played in the first sit com I remember watching, The Life Of Riley. He played Otto Schmidlap.

Peter Paul And Mary

My Glenn Miller and Frank Sinatra and conservative talk host loving father also loved Pete Paul and Mary. Go figure? This was his favorite.
RIP Mary

Tiny Bubbles, Don Ho: What Were They Thinking?

Apropos my confusion about the popularity Patti Page, here's another one-time popular culture hero and trend that I could never understand. Also those are some pretty bad leis

We Don't Live On Rutgers' Or Maggie's Farm No More

From a 1965 concert. I'm trying to be a Dylan appreciator. It's not easy for Sinatra and Fitzgerald ears

I ain't gonna work on Maggie's farm no more.
I ain't gonna work on Maggie's farm no more.
Well, I wake up in the morning,
Fold my hands and pray for rain.
I got a head full of ideas
That are drivin' me insane.
It's a shame the way she makes me scrub the floor.
I ain't gonna work on Maggie's farm no more.
I ain't gonna work for Maggie's brother no more.
I ain't gonna work for Maggie's brother no more.
Well, he hands you a nickel,
hands you a dime,
asks you with a grin
If you're havin' a good time,
Then he fines you every time you slam the door.
I ain't gonna work for Maggie's brother no more.
I ain't gonna work for Maggie's pa no more.
No, I ain't gonna work for Maggie's pa no more.
Well, he puts his cigar
in your face just for kicks.
His bedroom window
It is made out of bricks.
The National Guard stands around his door.
Ah, I ain't gonna work for Maggie's pa no more.
I ain't gonna work for Maggie's ma no more.
No, I ain't gonna work for Maggie's ma no more.
Well, she talks to all the servants
About man and God and law.
Everybody says
She's the brains behind pa.
She's seventy-two, but she says she's twenty-four.
I ain't gonna work for Maggie's ma no more.
I ain't gonna work on Maggie's farm no more.
I ain't gonna work on Maggie's farm no more.
Well, I try my best
To be just like I am,
But everybody wants you
To be just like them.
They sing while you slave and I just get bored.
I ain't gonna work on Maggie's farm no more.

Donovan's Hurdy Gurdy Man

Donovan goes into the category of music from the 60's and 70's that I just "didn't get"

Thrown like a star in my vast sleep
I open my eyes to take a peep
To find that I was by the sea
Gazing with tranquillity.
'Twas then when the Hurdy Gurdy Man
Came singing songs of love,
Then when the Hurdy Gurdy Man
Came singing songs of love.
Hurdy gurdy, hurdy gurdy, hurdy gurdy, gurdy he sang.
Hurdy gurdy, hurdy gurdy, hurdy gurdy, gurdy he sang.
Hurdy gurdy, hurdy gurdy, hurdy gurdy, gurdy he sang.
Histories of ages past
Unenlightened shadows cast
Down through all eternity
The crying of humanity.
'Tis then when the Hurdy Gurdy Man
Comes singing songs of love,
Then when the Hurdy Gurdy Man
Comes singing songs of love.
Hurdy gurdy, hurdy gurdy, hurdy gurdy, gurdy he sang.
Hurdy gurdy, hurdy gurdy, hurdy gurdy, hurdy gurdy, hurdy gurdy.
Hurdy gurdy, hurdy gurdy, hurdy gurdy, gurdy he sang.
Hurdy gurdy, hurdy gurdy, hurdy gurdy, gurdy he sang.
Here comes the roly poly man and he's singing songs of love,
Roly poly, roly poly, roly poly, poly he sang.
Hurdy gurdy, hurdy gurdy, hurdy gurdy, gurdy he sang,
Hurdy gurdy, hurdy gurdy, hurdy gurdy, gurdy he sang

Eydie Gorme: I Wanna Be Around

More from the tonight show, but this time with Johnny Carson in 1966

I wanna be around to pick up the pieces
When somebody breaks your heart
Some somebody twice as smart as I
A somebody who will swear to be true
As you used to do with me
Who'll leave you to learn
That mis'ry loves company, wait and see
I mean, I wanna be around to see how he does it
When he breaks your heart to bits
Let's see if the puzzle fits so fine
And that's when I'll discover that revenge is sweet
As I sit there applaudin' from a front-row seat
When somebody breaks your heart
Like you, like you broke mine

Blossom Dearie: The Surrey With The Fringe On Top

from the Jack Paar Show sometime in the 1960's

When I take you out, tonight, with me,
Honey, here's the way it's goin' to be:
You will set behind a team of snow white horses,
In the slickest gig you ever see!
Chicks and ducks and geese better scurry
When I take you out in the surrey,
When I take you out in the surrey with the fringe on top!
Watch that fringe and see how it flutters
When I drive them high steppin' strutters.
Nosey pokes'll peek thru' their shutters and their eyes will pop!
The wheels are yeller, the upholstery's brown,
The dashboard's genuine leather,
With isinglass curtains y' can roll right down,
In case there's a change in the weather.
Two bright sidelight's winkin' and blinkin',
Ain't no finer rig I'm a-thinkin'
You c'n keep your rig if you're thinkin' 'at I'd keer to swap
Fer that shiny, little surrey with the fringe on the top!

Sammy And Mama Cass

Nobody can tell ya;
There's only one song worth singin'.
They may try and sell ya,
'cause it hangs them up
to see someone like you.
But you've gotta make your own kind of music
sing your own special song,
make your own kind of music even if nobody
else sing along.
So if you cannot take my hand,
and if you must be goin',
I will understand.
You're gonna be knowing
the loneliest kind of lonely.
It may be rough goin',
just to do your thing's
the hardest thing to do.
But you've gotta make your own kind of music
sing your own special song,
make your own kind of music even if nobody
else sings along.
So if you cannot take my hand,
and if you must be goin',
I will understand.
You gotta make your own kind of music
sing your own special song,
make your own kind of music even if nobody
else sings along.

Today Is: Monday, Monday

Monday Monday, so good to me,
Monday Monday, it was all I hoped it would be
Oh Monday morning, Monday morning couldn't guarantee
That Monday evening you would still be here with me.
Monday Monday, can't trust that day,
Monday Monday, sometimes it just turns out that way
Oh Monday morning, you gave me no warning of what was to be
Oh Monday Monday, how you could leave and not take me.
Every other day, every other day,
Every other day of the week is fine, yeah
But whenever Monday comes, but whenever Monday comes
You can find me cryin' all of the time
Monday Monday, so good to me,
Monday Monday, it was all I hoped it would be
Oh Monday morning, Monday morning couldn't guarantee
That Monday evening you would still be here with me.
Every other day, every other day,
Every other day of the week is fine, yeah
But whenever Monday comes, but whenever Monday comes
You can find me cryin' all of the time
Monday Monday, ...

The Mamas And The Papas: Sing For Your Supper, 1967

Duck And Cover

I'm sure the dog tags was related to the fear of nuclear war in the 50's and 60's

Duck and Cover was a suggested method of personal protection against the effects of a nuclear weapon which the United States government taught to generations of United States school children from the late 1940s into the 1980s. This was supposed to protect them in the event of an unexpected nuclear attack which, they were told, could come at any time without warning. Immediately after they saw a flash they had to stop what they were doing and get on the ground under some cover—such as a table, or at least next to a wall—and assume the fetal position, lying face-down and covering their heads with their hands. Similar instructions were given in 1964 in the United Kingdom by Civil Defence Information Bulletin No. 5. and, in the 1980s, by the Protect and Survive series.
Proponents argued that thousands could be saved through this precaution, without which people would instead run to windows to find the source of the big flash. During this time a shock wave would cause a glass implosion, shredding onlookers.
Similarly, "Drop, Cover and Hold On" is taught in areas prone to earthquakes. Schools in some tornado-prone areas of the United States also practice tornado drills that involve children squatting and covering the backs of their heads.
The United States' monopoly on nuclear weapons was broken in 1949 when the Soviet Union tested its first nuclear device, and many in the government and public perceived that the United States was more vulnerable than it had ever been before. Duck-and-cover exercises quickly became a part of Civil Defense drills that every American citizen, from children to the elderly, practiced to be ready in the event of nuclear war. In 1950, during the first big Civil Defense push of the Cold War; the movie Duck and Cover was produced (by the Federal Civil Defense Administration) for school showings in 1951. At the time, it was believed the main dangers of a Hiroshima-type nuclear blast were from heat and blast damage: radioactive fallout itself was not clearly identified until 1954, after the Castle Bravo nuclear-weapon test in the Marshall Islands caused sickness and death in Japanese fishermen on the Lucky Dragon fishing vessel.
The advice to "duck and cover" holds well in many situations where structural destabilization or debris may be expected, such as during an earthquake or tornado. At a sufficient distance from a nuclear explosion, the shock wave would produce similar results and ducking and covering would perhaps prove adequate. It would protect the face (particularly the eyes) from the intense heat of a detonation. It would also offer some protection from flying glass and other small, but dangerous, debris. However, within a considerable radius—depending on the explosion's height and yield—ducking and covering would offer negligible protection against the intense heat, shock waves, and radiation following a nuclear explosion. People in this range would have little opportunity to duck and cover before being killed by the blast. The technique offers no protection against fallout. However, the technique assumes that after the initial blast, a person who ducks and covers will move to a more sheltered area. It is a first response only.
In U.S. Army basic training in the 1970s, soldiers were taught to fall immediately down, covering face and hands and using their bodies to shield their weapons from the heat of the blast.
The exercises of civil defense are now seen as having less practical use than psychological use: to keep the danger of nuclear war high on the public mind, while also attempting to assure the American people that something could be done to defend against nuclear attack.
These messages, including children's songs, were used to educate the young public in case of nuclear attack.
Ducking and covering does have certain applications in other, more natural disasters. In states prone to tornadoes, school children are urged to 'duck and cover' against a solid inner wall of a school, if time does not permit seeking better shelter—such as a storm cellar—during a tornado warning. The tactic is also widely practiced in schools in states along the West Coast of the United States, where earthquakes are commonplace. Ducking and covering in either scenario would theoretically afford significant protection from falling or flying debris.
In an earthquake, people are encouraged to "drop, cover, and hold on": to get underneath a piece of furniture, cover their heads and hold onto the furniture. This advice also encourages people not to run out of a shaking building, because a large majority of earthquake injuries are due to broken bones from people falling and tripping during shaking. While it is unlikely that "drop, cover and hold on" will protect against a building collapse, buildings built in earthquake-prone areas in the United States are usually built to earthquake "Life Safety" codes[citation needed], and a building collapse (even during an earthquake) is rare. "Drop, cover and hold on" may not be appropriate for all locations or building types, but many experts agree it is the appropriate emergency response to an earthquake in the United States.

Kenny Rankin RIP

A favorite of mine. For me he bridged the gap that I often couldn't negotiate from Sinatra, et.al to folk

In the mornin fun when no one will be,
Drinkin anymore wine
I wake the Sun up,
By givin him a fresh share
full of the wind cup
And I won't be found in the shadows hiding,
Sorrow
I can wait for fate, to bring to me,
Any part of my tomorrow....tomorrow
(chorus):
Cause it's oh...oh so peaceful here
No one bendin over my shoulder
Nobody breathin in my ear.
Oh uh oh... it's oh so peaceful here
In the evening shadows are callin me
And the dew settles in my mind
And I think of friends in the yesterday
When my plans were giggled in rhyme
I had a son while on the run
And his love brought a tear to my eye
And maybe some day he might say
That I'm a pretty nice guy...Oh Oh my
Oh.Oh My
(repeat chorus)
And it's:...etc.
end: It's (oh so peaceful ) (3 times)

Steve Allen: 1960, Part 2

Jonathan Winters, one of the funniest and most original comedians ever. He's still with us. I thought he must have been an influence on Robin Williams and he was

Steve Allen: 1960, Part 1

Unlike that 50's music, this show certainly holds up after almost 50 years. from the museum of broadcasting certainly many of the current late night group have stolen from Steve Allen

One of the most famous ratings wars in television history began on 24 June 1956. That night NBC debuted The Steve Allen Show opposite the eighth anniversary program of what had become a television institution, The Ed Sullivan Show on CBS. The two hosts were markedly different. Sullivan was a rigorous master of ceremonies, known for enforcing strict conformity for both his guests and the members of his audience. Allen, too, served as host, but he was also innovative, funny and whimsical. Whereas Steve Allen liked to improvise and ad lib on his program, creating material and responding to guests and audience on the spot, The Ed Sullivan Show followed a strict format.
The appearances of Elvis Presley on the two programs serve to illustrate the differences between them. When Presley appeared on The Ed Sullivan Show, Sullivan instructed the camera operators to shoot the picture from the waist up only. On The Steve Allen Show, Presley appeared in a tuxedo and serenaded a bassett hound with his hit "You Ain't Nothing But a Hound Dog." Both strategies appeased nervous network censors, but each is emblematic of the show it served.
Relations between the two prominent hosts were not cordial and reached a low point in October 1956. Allen scheduled a tribute to the late actor, James Dean, for his 21 October program. When he learned that Sullivan planned his own tribute to Dean for his 14 October program, Allen charged that Sullivan had stolen his idea. Sullivan denied the charges and accused Allen of lying. Allen moved his segment to October 14 when both programs paid tribute to the late actor and showed clips from his last movie, Giant.
Much of Allen's work on The Steve Allen Show resembled previous performances on The Tonight Show, which he had hosted since 1954. He often opened the program casually, seated at the piano. He would chat with the audience, participate in skits, and introduce guests. Television critic Jack Gould considered the new program merely an expanded version of The Tonight Show and characterized it as "mostly routine stuff." Gould did concede that "more imagination could take the program far." The Steve Allen Show offered Allen a natural setting for what Gould termed his "conditioned social gift" of "creating spontaneous comedy in front of an audience in a given situation."
Allen also continued something else he had begun on The Tonight Show, discovering new talent. Andy Williams, Eydie Gorme and Steve Lawrence got their starts on The Tonight Show. And on the new show, Allen's man in the street interview segments launched the careers of comedians Bill Dana, Pat Harrington, Louis Nye, Tom Poston and Don Knotts. Dana played the timid Hispanic Jose' Jiminez, and Harrington the suave Italian golfer Guido Panzino.
Characters created by Nye, Poston and Knotts were the best known of the group. Nye portrayed the effete and cosmopolitan Gordon Hathaway whose cry "Hi Ho Steverino" became a trademark of the program. Tom Poston was the sympathetic and innocent guy who would candidly answer any question but who could never remember his name. Probably the best remembered character was the nervous Mr. Morrison portrayed by Don Knotts. Often Morrison's initials were related to his occupation. On one segment he was introduced as K.B. Morrison whose job in a munitions factory was to place the pins in hand grenades. When asked what the initials stood for, Knotts replied, "Kaa Boom!" Invariably Allen would ask Knotts if he was nervous and always got the quick one word reply, "No!!!" Allen characterized the cast as the "happiest, most relaxed professional family in television."
Allen became known for the outrageous. He conducted a geography lesson using a map of the world in the shape of a cube. He opened a program by having the camera shoot from underneath a transparent stage. Looking down at the camera Allen remarked, "what if a drunk suddenly staggered into your living room and saw this shot?"
Although Allen won some of the ratings battles with Sullivan, he ultimately lost the war. In 1959 NBC moved The Steve Allen Show to Monday nights. The following year, it went to ABC for a fourteen week run. In 1961 Allen renamed the program The Steve Allen Playhouse and took it into syndication where it ran for three years.

Positively 4th Street Follow Up

Bob made this statement in a KV chatter post about going to a Dylan concert in New Haven with Al. He was following up Marv's remark:

Marv
We went to Dylan's "Rolling Thunder Review" concert in 1975 in New Haven, Ct. Laura was already at her due date with Becky our oldest daughter and the womb was definitely rocking to the music. We occasionally remind Becky that that was the first concert she attended. She was born a few days later at Yale New Haven Hospital. I'm sure Becky would be happy to be interviewed in regards to her memory of the concert! Hey Al weren't (aren't) you a big fan of Dylan?
from Bob
I was at that concert in New Haven--maybe even with Al, I don't remember. Don't recall a pregnant woman rocking. Those were the days you could understand the words coming out of Dylan's mouth.

I don't know it's pretty cool to say you were a Dylan fan way back then, but could it be that he and Al were at a New Christy Minstrel Concert in Arizona? Check the last few frames above for some pretty convincing evidence. Part of the New Christy Minstel's then was Jackie Miller who was part of the team of Jackie and Gayle seen in this Sunday In New York video with Bobby Darin

Sunday In New York, The Movie

A favorite of mine, with Mel Torme singing a a bonus

Jane Fonda is delightfully daffy as the uneasy doll who keeps a bevy of baffled males on edge for an entire Sunday In New York

Sunday in New York (1963) is a American comedy film directed by Peter Tewksbury and starring Cliff Robertson, Jane Fonda, and Rod Taylor. The screenplay by Norman Krasna was adapted from his play which had been produced on Broadway the previous year. It was one of Fonda's earliest films, and she was called "the loveliest and most gifted of all our new young actresses" by Newsday. The soundtrack score was composed and performed by Peter Nero.
Eileen Tyler (Fonda) is twenty-two years old and is suffering from her breakup with Russ (Robert Culp). She comes to New York City to visit her brother Adam (Robertson), who is an airline pilot. Eileen confides to her brother that she thinks she may be the only 22-year-old virgin left in the world. Adam assures her that sex is not what all men look for and insists he hasn't slept around. Of course, Adam is lying and is in hot pursuit of a tryst with his occasional girlfriend Mona. However, Adam's date with Mona has a series of job related interruptions. Meanwhile, Eileen decides to see if she can have some fun for herself in New York, and seems to find the perfect candidate in Mike (Taylor), a man she meets on the bus. But things get complicated when Russ pops in with a proposal and a mistaken assumption.

Positively 4th Street On 92nd Street This June

"Positively 4th Street" by Bob Dylan. Footage taken from D.A. Pennebaker's "Don't Look Back" and Dylan's 1965 press conference.
Arlene Lackow's husband Bob Levinson will be teaching a course on Dylan at the 92nd Street Y this summer

A Participatory Workshop Examining Bob Dylan’s Life, Art, Music and Politics
Bob Dylan-International icon, Oscar/Grammy award winning singer/songwriter, movie-maker, earth-shaker. He’s a giant and a genius as well as a multi-dimensional artist who is universally revered and respected for his stunning achievements in music, art, poetry and politics, and now in literature as well as on film. Dylan changed America with his powerful music for the first time in 1962 and continues to do so today with mold-breaking CD’s and a ‘Never Ending Tour’ made up of startling concert performances. Say something about him and you'll get an impassioned range of adoring and/or critical responses-'He's the Voice of his Generation,' 'He can't sing,' 'Is he still around’ or, 'His latest CD is his best ever!" Dylan’s Chronicles I was a Times Best Seller and a National Book Award nominee, Martin Scorsese’s Dylan Documentary, ‘No Direction Home,’ was universally praised, winning countless awards. Bob’s on XM/Sirus Radio every week. Join us in this intellectually stimulating, unique, student-friendly workshop where we’ll examine Bob Dylan’s remarkable life, complex career, legendary music and unique forays into the known and unknown.
Class Date-Thursday, June 11, 2009
Time 7-10 PM
CED # is 9353
Section is C1
Course Title is "Like A Rolling Stone"
Thursday, June 11, 2009
Time 7-10 PM

kv chatter, from Sarah

Our 5th grade teacher, Sheila Shankman, sure was hip.  She wore her hair in a Barbra Streisand 'page-boy', after all.  One morning Miss Shankman came to class very, very excited.  She called the class to order and announced that the night before, she had seen a genius that we just had to know about.  Mrs. Lapping wheeled in the school's 'victrola' and Mrs. Shankman, slid an LP out of its cover showing a man and woman strolling arm in arm down a foggy, blue-ish, cobblestone street.  I don't know what songs were on the Top 10 list at the time but my musical tastes ran the gamut of Shelley Fabres' Johnny Angel to the Broadway cast album of Anthony Newley's Stop the World I Want to Get Off.  I am sure that my classmates were likewise musically entertained because once Mrs. Shankman placed the needle on the record and the nasal strains of Dylan's voice were in the air - we all looked at each other in stunned silence.  Had Miss Shankman gone crazy over night?  You called this music..., genius yet?  A few seconds later and as the giggles infected the entire class, Miss Shankman picked up the arm of the record player, slipped the album into the cover and went on with the lessons of the day.  That was the first time I heard Dylan.

from Marv

We went to Dylan's "Rolling Thunder Review" concert in 1975 in New Haven, Ct. Laura was already at her due date with Becky our oldest daughter and the womb was definitely rocking to the music. We occasionally remind Becky that that was the first concert she attended. She was born a few days later at Yale New Haven Hospital. I'm sure Becky would be happy to be interviewed in regards to her memory of the concert! Hey Al weren't (aren't) you a big fan of Dylan?

from Bob

I was at that concert in New Haven--maybe even with Al, I don't remember. Don't recall a pregnant woman rocking. Those were the days you could understand the words coming out of Dylan's mouth.