The Decline Of Western Civilization Collection
DVD and Blu-ray new releases June 30, 2015: Decline of Western Civilization Collection; While We're Young; The Who at Shea Stadium; I Am Evel Knievel, more
Click the links to order discounted DVDs and Blu-rays from Amazon.
The Decline Of Western Civilization Collection
The Decline Of Western Civilization Collection
Pop focus: H.R. Pufnstuf
For kids too young to have their minds melted by LSD in the 1960s, Sid and Mary Krofft did the job in the early 1970s.
The producers programs, such as "H.R. Pufnstuf" and "Lidsville" mixed wild costuming, bubblegum pop music and dumb jokes into a surreal Saturday morning souffle that still triggers troubling half memories amongst those of us of a certain age.
Like most kids my age, I remember just enough of these shows to be really freaked out by them. Old kids thought they were stupid or mildly amusing. But if you were only 4, 5 or 6 when watching -- as I was -- they were confusing, yet compelling. Our young minds just didn't know what to do with them.
"H.R. Pufnstuf" appeared during the 1969 TV season on NBC and the network repeated the same 17 episodes each year through 1973, when the series entered syndication.
The action centered on a British kid, Jimmy (played by Jack Wild), who owned a magic talking flute named Freddie. Sounds normal enough so far, right? But things get really weird when Jimmy boards a mysterious magic ship and ends up on a fantastical island inhabited by an assortment of odd creatures, including the friendly mayor of the place, H.R. Pufnstuf.
I didn't realize it until years later that Pufnstuf was a dragon, but apparently that's what he was. Anyway, most of the show's plots center on Pufnstuf trying to protect Jimmy from the show's villain, Witchiepoo (a witch, I got that a the time), who's trying to steal Jimmy's flute. Yes, maybe there's something Freudian going on.
The show featured lots of musical numbers and had an addictive theme song that the nearest person in his or her late 40s could probably sing-hum to you if pressed. Jack Wild had a good voice. Before "Pufnstuf" he played the Artful Dodger in the film version of "Oliver!" He also recorded a couple of albums, one of which included a version of the Small Faces' "Lazy Sunday." The Small Faces' lead vocalist, Steve Marriott, also played the Artful Dodger on stage in London and he and Wild had similar, rough-edged voices.
One thing that muddled up the memories of my generation even more, is the fact that McDonald's -- in the early days in its campaign to ruin the health of America's youth -- copied "Pufnstuf" in creating its Saturday morning ads of the 1970s.
Mayor McCheese might as well have been Pufnstuf's brother. If you were young at the time, it was tough to sort out what was "Pufnstuf" and what was McDonald's. The Kroffts successfully sued McDonald's over the whole thing later in the decade.
There also was a feature-length "Pufnstuf" movie that pops up on cable occasionally.
So, if you're up to it, here's a look back at the show, with images, video and memorabilia. We'll tackle "Lidsville," which focused on the adventures of a kid who falls into a giant top hat, some other time.
The producers programs, such as "H.R. Pufnstuf" and "Lidsville" mixed wild costuming, bubblegum pop music and dumb jokes into a surreal Saturday morning souffle that still triggers troubling half memories amongst those of us of a certain age.
Like most kids my age, I remember just enough of these shows to be really freaked out by them. Old kids thought they were stupid or mildly amusing. But if you were only 4, 5 or 6 when watching -- as I was -- they were confusing, yet compelling. Our young minds just didn't know what to do with them.
"H.R. Pufnstuf" appeared during the 1969 TV season on NBC and the network repeated the same 17 episodes each year through 1973, when the series entered syndication.
The action centered on a British kid, Jimmy (played by Jack Wild), who owned a magic talking flute named Freddie. Sounds normal enough so far, right? But things get really weird when Jimmy boards a mysterious magic ship and ends up on a fantastical island inhabited by an assortment of odd creatures, including the friendly mayor of the place, H.R. Pufnstuf.
I didn't realize it until years later that Pufnstuf was a dragon, but apparently that's what he was. Anyway, most of the show's plots center on Pufnstuf trying to protect Jimmy from the show's villain, Witchiepoo (a witch, I got that a the time), who's trying to steal Jimmy's flute. Yes, maybe there's something Freudian going on.
The show featured lots of musical numbers and had an addictive theme song that the nearest person in his or her late 40s could probably sing-hum to you if pressed. Jack Wild had a good voice. Before "Pufnstuf" he played the Artful Dodger in the film version of "Oliver!" He also recorded a couple of albums, one of which included a version of the Small Faces' "Lazy Sunday." The Small Faces' lead vocalist, Steve Marriott, also played the Artful Dodger on stage in London and he and Wild had similar, rough-edged voices.
One thing that muddled up the memories of my generation even more, is the fact that McDonald's -- in the early days in its campaign to ruin the health of America's youth -- copied "Pufnstuf" in creating its Saturday morning ads of the 1970s.
Mayor McCheese might as well have been Pufnstuf's brother. If you were young at the time, it was tough to sort out what was "Pufnstuf" and what was McDonald's. The Kroffts successfully sued McDonald's over the whole thing later in the decade.
There also was a feature-length "Pufnstuf" movie that pops up on cable occasionally.
So, if you're up to it, here's a look back at the show, with images, video and memorabilia. We'll tackle "Lidsville," which focused on the adventures of a kid who falls into a giant top hat, some other time.
Remembering Patrick Macnee: Hear a BBC Radio documentary on "The Avengers"
BBC Radio 3 is representing documentary on 1960s spy TV series "The Avengers" in remembrance of actor Patrick Macnee (a.k.a. John Steed), who died this week:
Matthew Sweet dons his kinky boots to investigate the phenomenon of The Avengers, 50 years after its first transmission. As well as its regular cavalcade of cyborgs, spies and megalomaniacs, The Avengers seemed to present the world of British television with a new action figure - the liberated single female who, week after week, proved to be deadlier than the male. But how progressive was its sexual politics ? Was Diana Rigg in her all leather cat suit a male fantasy or a feminist icon and did Honor Blackman always play second fiddle to Patrick Macnee ?
Stream it here.Matthew has assembled a crack team of thinkers to ponder these mind-bending questions - teenage fans Bea Campbell and Sarah Dunant, historian Dominic Sandbrook and one of the masterminds of The Avengers, the screenwriter Brian Clemens.
Pop Culture Roundup: Brian Wilson; ZBS Media; Julius Schwartz; Rolling Stones
Rolling Stone has a fresh interview with Beach Boys genius Brian Wilson.
"I call myself Brian Willpower Wilson," he says. "I tell myself that, and it helps me push through the tough stuff. You know, I feel like I've got about 15 years left, so I want to make the most of it. So I'm taking things a little easier lately. Like, when I wake up in the morning, instead of going, 'Oh, no, not another day,' I'm going, 'Oh, God, thank you for another day!' "
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I can't plug ZBS Media strongly enough. I've been a fan of their audio adventures since I first hear "The Fourth Tower of Inverness" on my college radio station back in 1975. Check out their latest series, the steam punk-inspired "Lady Windermere’s Brass Fantabulous" here.
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13th Dimension pays tribute to DC Comics editorial mind Julius Schwartz with a selection of 100 classic covers.
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A historical plaque marking the spot where Mick Jagger met Keith Richards is being replaced after former Rolling Stones' bassist Bill Wyman objected to the wording.
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13th Dimension pays tribute to DC Comics editorial mind Julius Schwartz with a selection of 100 classic covers.
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A historical plaque marking the spot where Mick Jagger met Keith Richards is being replaced after former Rolling Stones' bassist Bill Wyman objected to the wording.
The blue plaque, unveiled at Dartford station in February, says the pair "went on to form The Rolling Stones".
But Wyman complained, saying guitarist Brian Jones created The Rolling Stones and enlisted the other members.
So long, Patrick Macnee
Coming Up: Walt Disney Records The Legacy Collection: Toy Story
Out July 10.
Walt Disney Records The Legacy Collection is an exclusive line of musical releases that celebrate the anniversaries of some of Disney's most cherished properties featuring beloved original soundtracks, plus valuable content that tells the story behind the music.
Walt Disney Records The Legacy Collection: Toy Story celebrates the 20th Anniversary of the film. This 2 disc collectible edition includes over 50 songs! Featuring: the original soundtrack, 7 bonus tracks and 3 instrumental songs. Plus liner notes by Randy Newman and John Lasseter, enchanting illustrations and original concept art by Lorelay Bove.
Disc: 1 1. Opening 2. You've Got a Friend in Me (Randy Newman) 3. Andy's Birthday Is Today 4. They're Alive! 5. "Staff Meeting Everybody!" 6. "You Too, Bo Peep" 7. Andy's Birthday Party 8. Code Red 9. A Good Soldier Never Leaves a Man Behind 10. Presents: Who Invited That Kid? 11. Surprise Present 12. What Are You Doing Under the Bed? 13. Buzz Revealed 14. Buzz Flies 15. Strange Things (Randy Newman) 16. Woody/Bo Peep 17. Sid 18. Virtual Realty 19. Woody Plots 20. Rube Globeburg 21. Woody Did It! 22. Rescue Attempt 23. Buzz, You re Alive! 24. Buzz and Woody Fight 25. Buzz's Mission 26. It's a Spaceship, Buzz 27. Pizza Planet Rock 28. What? Hello? A Space Port! 29. The Claw 30. Dr. Sid 31. Mutant Toys 32. Woody's Gone 33. "Sorry Guys, Dinner's Canceled 34. Scud 35. Buzz Lightyear Commercial 36. I Will Go Sailing No More (Randy Newman) 37. Out the Window 38. Sid's Toys Fix Buzz 39. The Big One 40. Sad Andy 41. Buzz, I Need Your Help 42. Working Together (Leads to Failure) 43. The Rescue Pt. 1 44. Sid Counts Down 45. The Rescue Pt. 2: Play Nice, Sid 46. Chasing the Van 47. RC to the Rescue 48. To Infinity and Beyond 49. Together Again and a Very Merry Christmas 50. You've Got a Friend in Me (Lyle Lovett and Randy Newman) 51. End Credits Disc: 2 1. Strange Things PIANO/VOCAL Demo (Randy Newman) 2. Plastic Spaceman PIANO/VOCAL Demo (Randy Newman) 3. I Will Go Sailing No More PIANO/VOCAL Demo (Randy Newman) 4. The Fool PIANO/VOCAL Demo (Randy Newman) 5. You've Got a Friend in Me Instrumental Version 6. Strange Things Instrumental Version 7. I Will Go Sailing No More Instrumental Version 8. Thanking the Orchestra Spoken
New video: Brian Wilson performs "One Kind of Love"
A video for a tune of Brian's new No Pier Pressure video features footage from "Love and Mercy."
Pop Stuff: Love and Mercy
What I'm watching, hearing, reading, etc.
Love and Mercy is an imaginatively conceived and moving portrait of the Beach Boys' Brian Wilson.
The film shifts back and forth through time, using two actors, Paul Dano and John Cusack, to portray Wilson both at his 1960s height and as a damaged, lost soul in the 1980s.
But, rather than being shown how Brian became what he became, we see that he's always been much the same: Musically brilliant, gentle and kindhearted, but assailed by depression, auditory hallucinations and other issues of mental illness.
From his youth into middle age, he is also consistently exploited by those around him. By his abusive stage dad Murray, by label bosses and his bandmates who want him to be "more commercial," and even by his own psychologist, Eugene Landy, who kept him trapped in a fog of medications for years while making money off Wilson's recordings and "autobiography."
It's a sad story that's constantly redeemed by Wilson's ability to stay positive and persevere. When he meets his future wife Melinda (played by Elizabeth Banks), he's a broken man. Landy, who keeps Wilson drugged and under surveillance by goonish assistants 24 hours a day, has shattered Wilson's creative spirit, his confidence and independence. Yet, there's still a glimmer there: a goofy sense of humor, flashes of musical brilliance, hints of Brian's true self. By reaching out to Melinda, he's reaching for a way out, and she helps pull him the rest of the way.
The film never loses focus despite the time shifts and despite using two actors that don't look much alike. Dano is bright, energetic and awkward as the young Brian -- excited by his musical discoveries and hurt and confused when his dad and bandmates don't understand them. Cusack's performance is quiet and understated, built on subtle body language that reflects the older Brian's lost and defeated state. It's a testament to both actors, and to the film's direction, that we consistently see them as the same man.
The film always seems real. Unlike most bio-pics, with their parade of bad wigs, period music and headlines to tell us "when" in the story we are, we feel genuinely in the 1960s when Dano is on-screen. The clothes, sets, cars and hair are all just right, not cheesy.
The studio scenes, which depict, mostly, the recording of Wilson's brilliant Pet Sounds album, are spot on. If you're a musician, or if you've seen the documentary "The Wrecking Crew" about the studio musicians Wilson worked with, you'll be amazed by the authentic details. All the gear -- amps, guitars, studio equipment -- is just right. The scenes convey the giddy excitement of creativity, as Wilson dictates his ideas to the musicians and they play music unlike any previously heard.
The other performances are all remarkably good. Banks isn't the crusading savior. She's just a normal woman trying to figure Brian out and unsure about how to help him. Paul Giamatti is both menacing and ridiculous as Dr. Landy: a dork who's managed to latch onto, and take control over, a much better and more-talented man's life. The smaller roles, including Jake Abel as Mike Love and Johnny Sneed as the great studio drummer Hal Blaine, are also well-played.
If you're a Wilson/Beach Boys fan, you'll be pleased by the authenticity of the film and its faithfulness to the facts. But even those unfamiliar with Wilson are likely to be moved and inspired by his story.
Love and Mercy is an imaginatively conceived and moving portrait of the Beach Boys' Brian Wilson.
The film shifts back and forth through time, using two actors, Paul Dano and John Cusack, to portray Wilson both at his 1960s height and as a damaged, lost soul in the 1980s.
But, rather than being shown how Brian became what he became, we see that he's always been much the same: Musically brilliant, gentle and kindhearted, but assailed by depression, auditory hallucinations and other issues of mental illness.
From his youth into middle age, he is also consistently exploited by those around him. By his abusive stage dad Murray, by label bosses and his bandmates who want him to be "more commercial," and even by his own psychologist, Eugene Landy, who kept him trapped in a fog of medications for years while making money off Wilson's recordings and "autobiography."
It's a sad story that's constantly redeemed by Wilson's ability to stay positive and persevere. When he meets his future wife Melinda (played by Elizabeth Banks), he's a broken man. Landy, who keeps Wilson drugged and under surveillance by goonish assistants 24 hours a day, has shattered Wilson's creative spirit, his confidence and independence. Yet, there's still a glimmer there: a goofy sense of humor, flashes of musical brilliance, hints of Brian's true self. By reaching out to Melinda, he's reaching for a way out, and she helps pull him the rest of the way.
The film never loses focus despite the time shifts and despite using two actors that don't look much alike. Dano is bright, energetic and awkward as the young Brian -- excited by his musical discoveries and hurt and confused when his dad and bandmates don't understand them. Cusack's performance is quiet and understated, built on subtle body language that reflects the older Brian's lost and defeated state. It's a testament to both actors, and to the film's direction, that we consistently see them as the same man.
The film always seems real. Unlike most bio-pics, with their parade of bad wigs, period music and headlines to tell us "when" in the story we are, we feel genuinely in the 1960s when Dano is on-screen. The clothes, sets, cars and hair are all just right, not cheesy.
The studio scenes, which depict, mostly, the recording of Wilson's brilliant Pet Sounds album, are spot on. If you're a musician, or if you've seen the documentary "The Wrecking Crew" about the studio musicians Wilson worked with, you'll be amazed by the authentic details. All the gear -- amps, guitars, studio equipment -- is just right. The scenes convey the giddy excitement of creativity, as Wilson dictates his ideas to the musicians and they play music unlike any previously heard.
The other performances are all remarkably good. Banks isn't the crusading savior. She's just a normal woman trying to figure Brian out and unsure about how to help him. Paul Giamatti is both menacing and ridiculous as Dr. Landy: a dork who's managed to latch onto, and take control over, a much better and more-talented man's life. The smaller roles, including Jake Abel as Mike Love and Johnny Sneed as the great studio drummer Hal Blaine, are also well-played.
If you're a Wilson/Beach Boys fan, you'll be pleased by the authenticity of the film and its faithfulness to the facts. But even those unfamiliar with Wilson are likely to be moved and inspired by his story.
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