#1968 tv show

[hooked-on-elvis]

Ready, honey? C'mon!

[atomic-chronoscaph]

Leonard Nimoy - The Dick Clark Show (1968)

[t00thpasteface]

shebbz i just want to say that you are single-handedly convincing me to watch mash... i know nothing about the show but ur chipping away at my brain like a misfolded protein

just make sure you watch it without laugh tracks

[adaptations-polls]

Which version of this do you prefer?

Note: 1968 option should say movie musical and not musical musical lol sorry about that

[justyourfellowaussie]

Some big traditional fanart of The Monkees I did for my grade 10 art final last year. I did use @autmnalmanac 's Monkee fanart for poses and background for the drawings at the bottom. And I used @saveferris 's Monkee fanart to draw whatever Micky is holding in the doctor scene. Because I couldn't for the life of me figure out how to draw it when I was watching the footage.

[genericruleroftheflies]

One difference I love between The Monkees showverse and Head-verse is that The Monkees are popular and “made it” in Head, but not really in the show (except for when Peter played harp).

It just makes them feels so different because would there be this huge crowd idolizing them like gods/christ-figures in the show? Probably not. I mean there are French girls chasing them in Paris… which confuses me a little. But maybe The Monkees in Paris is much closer to Head-verse than showverse (like Monkees on tour tho that feels closer to real life)

It’s all very interesting to me.

In Head the show is 100% a show they are on/trapped in, but in The Monkees show it’s also referenced as a tv show a couple times by the characters of the monkees lol. So they blend.

But when Micky or anyone says like “the monkees never made it in the show” I’m like but they did in Head. But I also realize there was probably the assumption no one watched Head for a long time.

Anyway…

[regarde-la]

Jane Birkin on the set of the tv series 'Armchair Theatre - Recount', 1968

By Popperfoto

[mariocki]

Roger Delgado practices diplomacy as the unnamed ambassador of an equally unspecified Central American Republic, in Man in a Suitcase: Burden of Proof (1.15, ITC, 1968)

[psychedelicgibsongirl]

[wallisninety-six]

Brian’s Album of Peace - The Spiritual Tranquility of “Friends” (1968)

In 1968, America was collapsing into violence and chaos. America’s band was collapsing into obscurity and near-bankruptcy- and it’s leader slowly withdrew from the world.

During this time, The Beach Boys (especially Mike Love) and their contemporaries like The Beatles were getting much more involved with the Maharishi Mahesh Yogi, and his promotion of Transcendental Meditation (TM). In 1968 this culminated in the Beach Boys launching a nationwide tour to preform songs and promote the Maharishi and his teachings- it was a complete disaster, both financially and critically, barely anyone showed up (Martin Luther King Jr. was killed the same month of the tour), and those who did responded negatively at the Maharishi’s appearance- the tour was thus cancelled prematurely, financially wrecking the band.

During this time, rock was getting heavier, Acid rock was getting more refined and heavy metal was slowly being born- The Beach Boys looked like total, unhip squares as a result. So what did the Beach Boys do to counter not only the negative press they received, but also the heavier sounds in rock? They stuck with their guns, went the polar opposite direction of music trends, and made a lo-fi, tranquil album whose sounds were not heavy, nor intense, but one about hope, peace, as well as explicit spirituality and the little joys of life and love. While Friends’ simplicity fiercely disappointed fans and critics, the work is now seen more positively as a lost and underrated Beach Boys gem.

The attempts of more explicit harmony & healing thus led to a more gentle, comforting work that passes by in a flash- many of the songs don’t even reach the 2-minute mark. The sound is sparse, delicate, dream-like and bubbly and bouncy at times too. Spiritual undertones are throughout, in sound and in lyrics too- from Brian singing about his first child being born, a mysterious-yet-welcoming healer, the simple joys of the sun rising and starting the day- things that can enrich the soul. It intentionally contrasted gory imagery of hatred and war that saturated US TV screens and horrified the populace in 1968. The closer for the album, “Transcendental Meditation” is an unfortunate and sonically abrasive misstep for the album (the earlier demo for it, simply titled “New Song” is much more fitting as the closer, in my mind.)

Friends perhaps features some of the most ethereal, gentle, and most gorgeous harmonies of the Beach Boys’ entire career- instead of using them for grandiose and loud orchestrations or for energetic rock, they effectively used their genius knack for harmonies to further uplift the songs into a practically angelic level- the best examples being “Anna Lee the Healer” and the wordless “Passing By”. Notably, Brian Wilson recruited his father Murray and his then-wife Marilyn Wilson to do backing vocals in a few of the tracks. Even with the instrumentals, Brian comes through once more in creating strange yet inviting worlds, like in the track “Diamond Head”.

The themes and sounds of peace that manifest in the album (perhaps unintentionally) reflected the odd circumstances surrounding the production: Despite the Maharishi and TM, there seemed to be an attempt at reconciliation between Brian Wilson and Murry- a man who infamously beat him and his brothers senseless, and Marilyn- whose marriage with Brian was slowly falling apart. But aside from that, Wilson’s mental struggles deteriorated further after his daughter was born, struggles that led him straight to the psychiatric ward the next year. The oddities are apparent as in the bossa nova-inspired “Busy Doin’ Nothin”, Brian literally tells the listener actual directions on how to get to his house- only if they can figure out the starting point.

Like Pet Sounds, labeling this as a Beach Boys album is slightly misleading- aside from two tracks, the record is largely a Brian Wilson solo album, as he arranged, produced, and led the project. Those two other tracks (”Be Still” and “Little Bird”) however, were made by his brother Dennis- his first songwriting contributions in a Beach Boys album, a trend that would only grow in the band’s future. His unexpectedly strong songwriting and music production in the coming years would culminate in his critically acclaimed 1977 album Pacific Ocean Blue.

Friends is a near-masterpiece that doesn’t cry for peace- it prays for it. Considering the background and timeframe in which it was made, and considering that modern times in the world have gotten frightening once more, Friends reminds us that despite seemingly apocalyptic times- happiness can exist in the mundane, love always persists and can grow, and peace might even be right around the corner- within ourselves, and our world.

[karloff-the-uncanny]

Boris Karloff performing “It Was a Very Good Year” on the Jonathan Winters show, which aired October 30th 1968. Karloff died three months later on February 2nd 1969 at the age of 81. Unfortunately only the audio remains of this performance, but what does remain is very good quality, luckily.

Gardibolt on Tapatalk writes:

"Many of us, including me, remember well the night of Wednesday, October 30, 1968. According to the TV guide, our hero Boris Karloff would be appearing on THE JONATHAN WINTERS SHOW with Agnes Moorehead in a Halloween episode of Winters' variety show. While at the end Karloff and Moorehead would do a mad doctor skit with Winters that was pretty much what we expected, earlier in the show we got quite a surprise: Boris Karloff, on stage, by himself. The music swells, and he begins to sing the schmaltzily nostalgic song, "It Was a Very Good Year." It was not at all what most of us expected, but as we watched, we found the sight of this elderly man, wistfully reminiscing in song, tremendously moving. In hindsight, with the knowledge of how very ill Karloff was, and the fact that three months later he'd be gone from us, the song has an air of farewell. One of the great moments in my television viewing over the decades."

[hooked-on-elvis]

A filming day during the '68 Comeback Special production (June, 1968) 🎥⚡

— Recollections by ANN MOSES, editor of TIGER BEAT and NEW MUSICAL EXPRESS MAGAZINES, as published in her Facebook on January 8, 2024, Elvis' 89th birthday.

Happy Birthday in Heaven to ELVIS PRESLEY , born January 8, 1935. He would have been 89 today. I feel the best way to honor Elvis is to share some of my in-person memories from his incredible Comeback Special from 1968 — Ann Moses

THE CONTINUING STORY OF ELVIS AND ANN MOSES (EDITOR OF TIGER BEAT) FROM NEW MUSICAL EXPRESS:

ELVIS TAKES OFF TINY TIM AND RICHARD HARRIS

Last week I told you how I was chosen to sit on the steps of the stage when Elvis was performing before the tele-film camera in Burbank. They were recording the hour-long Spectacular to be seen in American on December 3. I promised to tell you about my further encounters with Elvis this week, so here goes: As Elvis left the stage, his face dripping with perspiration, his straight hair hanging over his eyes after such an energetic half-hour workout, everyone expected the end had – too soon – arrived. Wrong! After a few moments the executive producer appeared to inform us that this had been a dress rehearsal and Elvis would be back as soon as his leather suit dried out, and go through it all again.

Great News

It was great news because to have a small taste of greatness would have been cruel. The first set whet our appetites and the gathering was openly happy that the appetite might now be satisfied (if that’s possible)! During the half-hour break, Priscilla Presley, Elvis’ wife, descended from the seats where she was watching him and glided backstage to see her husband. She did not return. Meantime, the executive producer stayed on stage to entertain the audience by answering questions about El. I asked how much he had contributed to the creation of the TV Special. The producer said El had done about 75 per cent of the creating. He also said El was easy to work with and his professionalism had cut the time allowed for filming. To fill time and keep us occupied, as if we weren’t content to merely sit and wait for him to return, the producer called the Blossoms on stage to do a song. This Negro (remember this was 1968 and the correct way to describe the black girls) girl trio, who performed on the old “Shindig” show and have aided the Righteous Brothers on their tours, backed up Elvis vocally in the special. “We’d like to sing a gospel song for you,” one of the girls said. “You know, Elvis really loves gospel songs. Every time we’ve had a break in the past two weeks he drags us off to some corner to sing gospel tunes, isn’t that a groove?” she went on.

The Blossoms (American female group): Photo 1 from 1966 (left), clockwise from top: Fanita James, Jean King, and Darlene Love. The group's formation changed over the years but those are the female vocalists of the Blossoms that worked with Elvis.

On the '68 Comeback Special, the full group appear onscreen during the Gospel number (second picture from 1968 — from left to right, Jean King, Elvis, Fanita James and Darlene Love). Darlene Love also sings the female vocals for 'Let Yourself Go' song, used for the bordello scene.

The Blossoms also have uncredited roles on the film 'Change of Habit' (1969) on which they act as Elvis' character's neighbors performing as his backing vocals for the song "Rubberneckin'", right at the beginning of the movie, although the female backing vocals for the actual song was recorded by other female artists during the American Sound Studio sessions in January, 1969. I'm not sure if for the movie version they recorded the song again, with the Blossom's backing vocals, but probably no — if that's so, the girls participation on the "Rubberneckin'" scene is specifically with their acting, dubbing the original recorded song. The movie was filmed between March and April, 1969. Still for the "Change of Habit" movie, the Blossoms sing the female backing vocals for "Let Us Pray", song used during the closing scene in the church. The Blossoms recorded a few more songs with Elvis.

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Continuing Ann Moses' article:

Then they sang a gospel tune and it was a groove too. I would have loved to hear Elvis join with them, but anyway. . . A few more minutes, in which the executive producer introduced all of Elvis’ buddies and then HE was back. This time he was much more at ease in front of the audience. He began to joke with those of us close by, sitting on the platform. “I hope you don’t mind if we do a few of those numbers again,” he smiled, “I really goofed up some of them the last time.” The band was ready and it began again. But this time seemed even more exciting because it was likely we knew him better. That may seem hard to comprehend since we’d only been there a couple of hours, but that’s the way he makes you feel!

Some new twists

Some of the songs had been recorded previously and when he’d get to them in the medley he just cut up the original lyric. Like when “Love Me Tender” came around again he sang “. . .you have made my life a wreck and I hate you so. . .” then he’d laugh and go on to the next tune. Once through the whole medley and everything stopped for a prop change. A special set had to be set up for the finale. Instead of leaving this time, Elvis bent down to me (are you ready for that – me!) and said “What would you like to hear?” I blurted out, “Your Time Hasn’t Come yet, Baby.” * He gave me an inquisitive look and I said: “The new single.” “Right,” he said and started singing the song.

Movie soundtrack: "Speedway" (1968)

"Your Time Isn't Come Yet Baby" was released a few weeks before the movie, as a single, on May 21, 1968, with "Let Yourself Go" on the opposite side (the second song, is part of the '68 Comeback Special setlist, used during the bordello scene where Elvis acts opposite to Susan Henning). "Speedway" movie was released only a few weeks before the filming for Elvis' NBC TV Special had begin, on June 12, 1968 (although the film was completed in the early summer of 1967), while the videotaping for the "'68 Comeback Special" was filmed from June 27-30, 1968.

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Continuing Ann Moses' article:

The microphone was turned off. He called to have someone turn it on. Another girl said, “Sing ‘U.S. Male,’” and he said in a deep voice “I’m a U.S. Male. . ." but still the mic was off. Others ere calling out songs now and while he waited for someone to turn on the mic he bent down to sign some autographs. He got back up and strummed the electric guitar and tried again, but still no sound. So he left. It’s really awful to complain in light of what we were all experiencing, but to think we would have had private little 15-minute concert except for that rotten dead-mic, well. . . it would have been great. The set was ready. It was a black box some 25 feet long and as high and wide as a room. At one end there were flashing colored lights darting in all directions. At the open end was our platform and the microphone. Elvis returned, casually, but things were not quite ready. The mic was on now. Someone asked “How’s your daughter?” Elvis answered, “Oh, about this long,” he held his hands out about a foot apart as he smiled broadly.

I found this moment on Youtube Shorts (Elvis talks about baby Lisa Marie and also sings one verse of a song we'll talk about soon, recorded by Tiny Tim):

As we know, Lisa Marie Presley was born in February 1, 1968. By the time the '68 Special was being filmed, little Yisa was close to reach 5-months-old. An infant, the King's little Princess. ♥

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Continuing Ann Moses' article:

“How long have I got?” he questions the director, “I’m getting embarrassed.” There was no answer, so he began singing “Tiptoe through the tulips” in Tiny Tim style. It was hilarious and even he couldn’t help breaking into laughter.

“Tiptoe Through the Tulips” by Tiny Tim. Also known as "Tiptoe Thru’ the Tulips with Me", is a popular song published in 1929. Singer, Tiny Tim, release his version in April, 1968. It was a new tune when Elvis was singing it out of fun during the '68 Comeback Special filming, as Ann Moses remembered happening.

You can hear Elvis singing one verse of this song on the Youtube Shorts I shared previously when Ann Moses mentions Lisa Marie). What a funny guy, our Elvis. ♥

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Continuing Ann Moses' article:

“Well, how about. . .’someone left the cake out in the rain’. . .” He was now mimicking, in an extra-deep voice, Richard Harris’ hit record “MacArthur Park.” Again, he laughed.

You can listen to Richard Harris' song on Youtube, here.

Everything was ready now. He took that special stance and GLARED at the camera. The music started. . .”If you’re lookin’ for trouble. . .you’ve come to the right place.” Rough and tough, he was singing “Trouble,” twitching lip and all. But then he called, “wait, wait. . .” and the tape stopped. He looked at us and said: “Did you see that?” He was laughing again. “I got my lip caught on the microphone!”

This above isn't the take Ann is referring to (I didn't found it [:(], but one of the takes he sings "Trouble" during one of the '68 Comeback Special's stand up concerts). You got the picture.

Continuing Ann Moses' article:

He goofed the famous lip twitch. Of course, it had to be right. It all started again and this time it was perfect. In the middle of “Trouble” the tape broke into “Guitar Man” with Elvis singing “well, I’ve come a long way from the car wash. . .” and he sings about heading back down the road with a guitar slung over his back. He picks up his guitar, slings it over his back and walks off down the black corridor into the flashing lights symbolizing the future. The audience was hysterical and that’s good because the reaction is all on tape too. It was so spontaneous and so beautiful. What I gather the special is all about is sort of a life story of Elvis through his music, ending of course, with him walking into the unknown future, that for him can only get better. All I can say is I didn’t sleep for two nights and I’m still having dreams. I guess that’s what can happen when you’re touched by magic! — Recollections by ANN MOSES, editor of TIGER BEAT and NEW MUSICAL EXPRESS MAGAZINES, as published in her Facebook page on January 8, 2024.

Pictures 1-2: Elvis '68 Comeback Special. Picture 3: Ann Moses on "Elvis: That's The Way It Is" (1970, theatrical version).

ON ANN MOSES: Ann is one of the girls appearing on "Elvis: That's The Way It Is" (1970) documentary on the fan interviews portion of the film. In one of her interviews years later, Ann says that she was a fan of Elvis previous to the '68 Comeback Special but her love for him hibernated for a while during Elvis' Hollywood years (60s) due to all the new music for the youth that was happening at the time, but then ever since 1968 and Elvis' comeback to performing live in 1969, Ann was again a die hard fan, instantly — and that she is until today. Every now and then she talks about Elvis Presley on her Facebook page, sharing articles she wrote on him to the magazines she was an editor for back in the days, also about her experiences watching Elvis performing live, the time she visited him on a movie set in 1969, and so on. Ann Moses published a memoir book where she talks about her experiences as a young woman living among big stars in the 60s and 70s - obviously she mentions Elvis there. Her memoir book is entitled "Meow! My Groovy Life with Tiger Beat's Teen Idols", published in 2017.

Picture 1-2: Elvis and Ann Moses during and after his press conference at the International Hotel (August 1, 1969 - the press conference was held right after Elvis' opening night at the hotel's showroom). Pictures 3 and 5: Elvis performing at the International hotel on August 2, 1969, both photos by Ann Moses. Picture 4: Ann Moses.

[nerds-yearbook]

On March 14, 1968, the final episode of the Adam West and Burt Ward "Batman" aired. The final celebrity villain was Zsa Zsa Gabor as Minerva. ("Minerva, Mayhem, and Millionaires", Batman, TV, event)

[make-a-little-mischief]

A hint of forearms

Yes I'm still on the forearms

I will always be on the forearms

**Hi friends, if you'd like to spread the forearm love around and repost this photo feel free, I just ask that you credit my blog if you do. Thanks a million fuzzy forearm hairs 😘😜

That was a weird one but if it ain't weird it ain't my blog 😜🙃

[randomlycee]

There’s so little worth watching on TV & streaming at the moment I’ve resorted to watching shows from the 1960s.

They didn’t worry about unrealistic writing, hammy acting, or terrible studio sets in those days. It’s great.

Now watch me write slash fiction for a fandom that has like 3 readers & 12 fics.

[arconinternet]

The Smothers Brothers Comedy Hour - A Bunch of Episodes (Video, 1967-1969)

A bunch of episodes of the surprisingly subversive comedy series. Includes opening and closing comments from the Smothers Brothers, a 2002 documentary, and, labeled as S3E25, the infamously banned episode that went unaired for almost 25 years. You can watch them here.

In memory of Tom Smothers (1937-2023).