CeCe Winans.
https://www.youtube.com/watch?v=uHqvw5NQ69M
Recently Sypha, a resident Burmese python at Florida's Gulfarium Marine Park (where my grandson Mark works with the reptiles) paid a visit to the bottleneck dolphins.
https://www.youtube.com/shorts/hHBfKlxXp5g
The T.A.M.I. Show was (IMHO) one of the greatest concert films ever made. T.A.M.I stood for either "Teenage Awards Music International" or Teen Age Music International" -- take your pick, the publicists couldn't make up their minds. The concert featured popular rock and roll and rhythm and blues acts from both the United States and England. The advertising tagline was, "THE EXCITMENT, ENTERTAINMENT AND MUSIC OF TEENAGE AMERICA!" -- and that it was. The concert was held at the Santa Monica Civic Auditorium on October 28 and 29, 1964. Free tickets were given to high school students of the area. Among those in the audience were a future film director John Landis and future teenage heartthrob David Cassidy, both seventeen. Among the go-go dancers on the stage was a young Teri Garr.
The concert film was produced by Lee Savin and directed by Steve Binder (who also directed Elvis Presley's '68 Comeback Special, Diana Ross Live in Central Park, and -- God help us! -- the Star Wars Holiday Special). The film was released on November 24, 1964. In 2006, the film was selected for the National Film Registry of the Library of Congress for its "culturally, historically or aesthetically" significance.
The show was emceed by Jan and Dean, who performed the original theme song "(Here They Come) From All Over the World," whose lyrics mistakenly had the Rolling Stones originating from Liverpool.
The acts:
Yours Truly, Johnny Dollar aired on CBS Radio from February 18, 1949 to September 30, 1962, featuring private investigator Johnny Dollar investigating unusual insurance claims involving suspicious deaths, possible frauds, missing persons, or other mysterious circumstances. Each episode was related in flashbacks during a report to the insurance company and carefully notated various business expenses the Johnny incurred. Investigating insurance claims is a risky business, and Johnny often ended up in personal danger.
Johnny Dollar was first portrayed by Charles Russell (Dick Powell had the role in the pilot back when the show had been provisionally called Yours Truly, Lloyd London [producers quickly changed the title, fearing legal backlash from Lloyd's of London], but opted to go with Richard Diamond, Private Detective instead). Edmond O'Brien was the second to play the character, from February 1950 to September 1952. O'Brien -- who would be 101 years old today [Happy Birthday!] -- already had a strong film career with such movies as The Killers, White Heat, and D.O.A., and would go to later films as Shield for Murder, The Barefoot Contessa(winning both an Academy Award and a Golden Globe for Best Supporting Actor), and Seven Days in May (winning a Golden Globe and gaining an Academy Award nomination); from 1951, O'Brien regularly appeared in television anthology series and other programs, including starring roles in Johnny Midnight, Sam Benedict, and The Long, Hot Summer.
In "Death Takes a Working Day," O'Brien's first outing as Johnny Dollar, our hero investigates the murder of policy holder Loyal B. Martin, who had been shot in the back twice. The suspects: Martin's young wife who married him for the honey, his long-serving housekeeper whose romance with Martin had been shunted aside when he married another, his pecunious brother who may been in love with Martin's wife, and the private detective who was Martin's bodyguard and who may also be in love with the beguiling Mrs. Martin. In the end, Johnny Dollar submits an expense account totaling $823.
Produce and direct by Jaime del Valle, written by Paul Dudley and Gil Dowd, and featuring the voice talents of Irene Tedrow, Walter Burke, Ted de Cosia, John Boehner, Gene Bates, and Ed Begley.
Enjoy.
https://www.youtube.com/watch?v=cP5yyk6VXR8&list=PLneoVXdPCzrfDyffrXvlgykS4WVzvv4pa
Looking for cheese? I've got you covered.
In The Devil's Mistress, a group of outlaws come across a cabin occupied by an old man and his beautiful, silent wife. Because they're the bad guys, they kill the old man and kidnapped the woman. And because they're the bad guys the woman turns lout to be a vampire. There's probably a lesson in there somewhere.
The [production values are bottom of the barrel -- I mean, lower than Manos, the Hand of Fate -- and the acting complements the production values. in an alternate universe this could have been a nifty film; sadly, we are stuck in this universe.
Featuring nobody important (although I'm sure their mother would disagree): Joan Stapleton, Robert Gregory, "Forrest Westmoreland" (who was actually Wes Moreland, the film's producer), Douglas Warren, Oren Williams, and Arthur Resley. Written and directed by Orville Wanzer (whose only other director-writing credit was 1970's George Andrews, a semi-autobiographical mess starring Wanzer as the title character, and -- wouldn't you know it? -- also featuring Wes Moreland).
I offer no apologies for this one. If you are a fan of really bad movies, you'll like this one. But if you are a connoisseur of film, I'm lucky you don't have my address.
https://www.youtube.com/watch?v=gI5VCo9oIi4&list=PLrm4jq5dGtLn5X8o3EFOQGm9GtsBW_QiM&index=35
It didn't start with The Amboy Dukes but that 1947 novel helped lead the way. America was soon realizing that its teenagers were disaffected and revolting against societal norms, and that meant big business and big profits. By the 1950s America was hooked on juvenile delinquents; films such as 1953's The Wild Ones and 1957's Rebel Without a Cause and The Blackboard Jungle were reaping in big money. Popular novels by Hal Ellson and others, the fear mania against comic books spearheaded by Dr. Fredric Wertham, the unexplained popularity of rock and roll among the younger crowd, the supposed blase attitude among many parents becoming comfortable in their new lifestyles, the plethora of nonfiction warning of the dangers of juvenile gangs -- all this combined into a national juvenile delinquent mania. Rebels were cool and Hollywood was eager to cash in.
And cash in they did, producing some of the most imaginative and unimaginative dreck committed to film. Case in point: The Violent Years, written by an uncredited Ed Wood (he of cashmere sweaters and Plan Nine from Outer Space) and directed by William Morgan (Mr. District Attorney, Heart of the Rio Grande, The Bells of Capistrano -- he returned to directing after a thirteen year gap to direct The vilent Years, his final film).
Former Miss Hollywood and Playboy's October 1955's Playmate of the Month Jean Moorhead (The Amazing Colossal Man, Motorcycle Gang, Attack of the Puppet People -- if she is still alive, she'd be 91) as Paula Parkins, the leader of a gang of juvenile delinquent high school girls. Among her gang are Theresa Hancock (no other IMDb credits) as Georgia ("George"), Gloria Farr (ditto no other IMDb credits) as Phyllis ("Phil"), and Joanne Cangi (she's also credited in two episodes of 1955's It's a Geat Life as a switchboard operator and a receptionist) as Geraldine ("Jerry"). Local criminal Sheila (Lee Constant, also with no other IMDb credits), a member of the Communist Party, instructs the girls to wreck a local school. Gerry and Phil are shot and killed as they try to get away and Paula guns down one of the cops. Paula and George report back to Sheila, who (because she is an untrustworthy Communist, I suppose) tries to turn them over to the cops, but Paula shoots and kills her. Paula and George try to get away in Sheila's car, but in the ensuing car chase, they crash through a storefront window and George is killed and Paula hopitalized.
Because Paula is a juvenile, she cannot be sentenced to die, but the judge sentences her to life without parole. And then -- surprise! surprise! -- we learn that Paula is pregnant, perhaps from a man she and the gang raped, or perhaps from lone of their "makeout" parties. Paula's parents are denied custody of their granddaughter because of the neglectful way they raised Paula.
Paula's gang evinces a laissez-faire "so what?" attitude throughout the film.
Let this tale of teenage angst, woe, and bad behavior be a moral lesson for you.
https://www.youtube.com/watch?v=X9o2pqF4gKE
Openers:
You
Your fluttering eyelids are mouths, mouths that talk too fast because they are lying. You press your palms into your eyes to slow the lids down, to shut them the hell up.
While hidden within a brief, warm respite of darkness, a muttering, mumbling discussion percolates. You drift in their sea of sibilants and plosives that form old. forgotten words, until someone rises above the frothing fray, asking, "What are the signs?"
You -- yes, you are you for the duration of this, whatever this is -- roll the stones in your hands away from your eyes.
A man, dressed in a red tracksuit with a white, orderly zipper splitting his chest, sits in a creaking wooden chair. If the room is a sundial, then the complaining chair is a gnomon. This room is a living room belonging to a modest house, a house that is unfamiliar to you, but you are not weighted by an oppressive feeling of unfamiliarity. The living room is ill-lit and dank and the plaster walls a beige shade no one would purposefully choose. Pitted Styrofoam tiles chessboard the ceiling, tattered woven throw rug spills across the hardwood floor. A collection of out-of-date furniture molders in the areas where shadows are thickest, and the pieces swap positions withing the room whenever you blink.
-- Dead But Dreaming of Electric Sheep by Paul Tremblay (2026)
The book's title, as Ian Mond stated in Locus, "pays attention to the themes that Philip K. Dick made his own: conflicted identities, altered consciousness, fractured realities."
Julia Flang, a semi-professional gamer estranged from her high-powered tech CEO mother and struggling to work two menial jobs, is hired for a tech job with a pay that is difficult to refuse -- she must chaperone a man in a vegetative state from California to the East Coast. The catch is that the man is dead -- well, mostly dead -- and has been implanted with an AI chip in his brain that will allow him to function physically or sorts. The nameless victim had died of a stroke and was brain dead, his movements now controlled by an experimental handheld gaming control device. To test the chip and the device, Julia is selected to take Bernie (Julia's name for the man, from Weekend at Bernie's) on this initial journey. As the novel progresses, Bernie changes, but are the changes due to the AI chip teaching itself or to something that is happening in Bernie's brain-dead cortex?
The boom is divided into sections, one covering Julia and her journey, the other -- title You -- takes us inside the maybe-dead, maybe-mostly dead, maybe AI trying to access Bernie's brain -- a mad kaleidoscope of memory, fantasy, fear, allegory, confusion, phobia, imagination, terror, and glimmerings of what may really be happening, all trying to make sense of the world both around and within Bernie. These Bernie sections are difficult plodding at first, but as awareness grows within Bernie, so does it also within the reader.
At the novel's core is the dread feeling that this new technology will be used in the worst possible way, but the reader learns to cheer Julia and Bernie on with the hope that they will prevail.
Not an easy read but an important one. This is Tremblay's twelfth novel and with each book he has ventured into newer and more rewarding territory.
Incoming:
As far as cinematic values goes, it's hard to sink lower than Mesa of Lost Women, a bottom of the budget horror flick directed by Herbert Tevos and Ron Ormand (King of the Bullwhip, White Lightnin' Road, The Grim Reaper -- Ormond has 27 director, 42 producer, 36 writer, and 6 acting credits on IMDb) . Tevos had written a number of unfilmed (and unfilmable) scripts and managed to get one script credit for 1951's Tarantula (not to be confused with the Jack Arnold 1955 film of the same name), which was so bad that it never got released. Enter low-budget specialist Ron Ormand ( ) the following year, who filmed new material, edited it into Tarantula, and came out with Mesa of Lost Women, now recognized as one of the worst movies ever filmed. Tevos claimed to have been a famous director in Germany and that he directed Marlene Deitrich in The Blue Angel, but that appears to be pure puffery; there is no record of him directing anything in Germany and Mesa of Lost Women remains his only known credit. It turns out that Tevos was really Herbert von Schoellenbach, who was an employee of the film manufacturing company Agfa; Agfa sent him to the United States, where he worked as head of the paper testing department in Agfa's Rochester, New York, facility. The script for Mesa of Lost Women was by Tevos and Poverty-Row scribe Orville H. Hampton, although Hampton got screen credit only for dialogue supervision.
Former child star and latter-day Uncle Festus Jackie Coogan stars a the reclusive Dr. Aranya (the Spanish word for spider), who "is creating giant spiders and dwarfs in his lab on Zarpa Mesa, Mexico. He wants to create a master race of superwomen by injecting his female subjects with spider venom." One of these women is Tarantella (pin-up model Tandra Quinn -- perhaps born Derline Jeannette Smith -- , featured in Problem Girls, The Neanderthal Man, and as an uncredited fourteen-year-old schoolgirl eight years earlier in Week-End at the Waldorf, who has spider-like claws on her feminine hands.
the film quickly moves from the very sub-sublime to the overtly ridiculous in just 109 minutes.
Narrated by Lyle Talbot and also featuring Allan Nixon, Richard Travis, Delores Fuller, Katina Vea, Paula Hill, and Robert Knapp, and if you look closely you might notice Angelo Rositto as one of the dwarfs.
The film is so bad that it has become a minor cult classic. How bad? you ask. Harken to some of the film critics; "lapses in judgment that boggle the mind," "a dull, tepid mess," "incoherent," "muddled and misguided," "incompetent [and] awkward," "ridiculously complicated plot hides the fact that nothing really happens," and "so bad you have to ask yourself, is it actually evil?"
You have been warned. Now dive in.
https://www.youtube.com/watch?v=qs3OIggg334
Dudley ("Big Tiny") Little, Jr, (1930-2010) was a honky-tonk and ragtime piano player perhaps best known for his appearances on The Lawrence Welk Show from 1955 to 1959. Following his tenure at Welk, Little went solo, recording more than forty-five albums.
This, my friends, is foot-thumping happy music.
"The 12th Street Rag" (with Jo Ann Castle)
https://www.youtube.com/watch?v=jF6GOF3VypQ
"Just One of Those Things"
https://www.youtube.com/watch?v=JY6QOPgLFTU
"Bye Bye Blackbird," "Bill Bailey," and "Four Leaf Clover"
https://www.youtube.com/watch?v=7220RGm3hUk
"Just One of Those Things"
https://www.youtube.com/watch?v=N7dlimeIMHc
"It Had To Be You" and "I Can't Give You anything But Love" (with Alice Lon)
https://www.youtube.com/watch?v=etJ_Jzx-zkY
"Caldonia"
https://www.youtube.com/watch?v=nEC-P-e68VQ
"The Old Piano Roll Blues"
https://www.youtube.com/watch?v=Nfn2Wm5YuVY
"Wang Wang Blues" and "Dipsy Doodle"
https://www.youtube.com/watch?v=iHaHYOmrsO4
"Stardust/Moonglow"
https://www.youtube.com/watch?v=Dt7eaHKx6BI
"Jambalaya"
https://www.youtube.com/watch?v=y1S1UfKjnv0
"Spaghetti Rag," and "O-o-oh Look-A-There, Ain't She Pretty"
https://www.youtube.com/watch?v=t7M73R_2Bv8
"Maple Leaf Rag"
https://www.youtube.com/watch?v=UcziiWbDQyg
It's time for a 1950 cheesy sci-fi monster flick.
This one features giant mollusks arising from the Salton Sea. Tim Holt traded in his cowboy hat and returned to films after five years to make this one. Co-starring Audrey Dalton (My Cousin Rachael, Casanova's Big Night, Mr. Sadonicus), with child actress Mimi Gibson (The Three Faces of Eve, Houseboat, One Hundred and One Dalmatians), noted character actor Hans Conried (The 5,000 Fingers of Dr. T., The Twonky, Horton Hears a Who), film and television supporting actor Harlan Warde (with 216 IMDb credits, mainly in uncredited roles), and Max Showalter (What Price Glory?, Dangerous Crossing, Fate Is the Hunter).
Directed by Arnold Laven (Without Warning!, Vice Squad, Down These Dark Streets). The Screenplay was written by Pat Fielder (The Return of Dracula, The Flame Barrier, The Vampire), from a story by occasional science fiction writer and screenwriter David Duncan (he wrote the English language version of Rodan, 1960's The Time Machine, and co-wrote the screenplay for Fantastic Voyage); Duncan's original title was The Jagged Edge and the flick was renamed The Kraken before the producers finally settled on The Monster That Challenged the World.
Let the cheesiness begin:
https://www.youtube.com/watch?v=w2jHqSzPnw8
Fred Rose (1898-1954) was a Hall of Fame songwriter, many of whose songs became classic country hits and were recorded by such artists as Hank Williams, Gene Autry, Hank Snow, Roy Acuff, Bob Wills, Ref Foley, Marty Robbins, and Eddie Arnold. In 1942, Rose and country star Roy Acuff created the first Nashville-based music publishing company, Acuff-Rose Music. In 1961, Rose was one of the first three inductees inn the Country Music Hall of Fame, along with Hank Williams and Jimmie Rodgers. He was inducted into the Nashville Songwriters Hall of Fame in 1970 and the Songwriters Hall of Fame in 1985.
"Blue Eyes Crying in the Rain" - Elton Britt, with the first recorded version of this song
https://www.youtube.com/watch?v=KVhYzPcA24E
"Tears on My Pillow" - Gene Autry
https://www.youtube.com/watch?v=7Lv4ueCky8M
"I'll Never Get Out of This World Alive" - Hank Williams
https://www.youtube.com/watch?v=19vApPwWqh8
"Kaw-Liga" - Carl Perkins
https://www.youtube.com/watch?v=Hg-gIItGpHo
"Take These Chains from My Heart" - Ray Charles
https://www.youtube.com/watch?v=sVu4e_SIvlQ
"No One Will Ever Know" - Jerry Lee Lewis
https://www.youtube.com/watch?v=9miAEA7ZhjE
"It's a Sin" - Eddy Arnold
https://www.youtube.com/watch?v=0DiF6Tbo90M
"Charlestonette" - Paul Whiteman and His Orchestra
https://www.youtube.com/watch?v=ViWYX1K8pGw
"Did I Do" - Ruth Etting
https://www.youtube.com/watch?v=ihH1E8IcNdI
"Fireball Mail" - Roy Acuff
https://www.youtube.com/watch?v=MPn_6dz_G_o
"Hang Your Head in Shame" - Bob Will and His Texas Playboys
https://www.youtube.com/watch?v=sVRFYq0M_Ac
"Home in San Antone" - Ray Price
https://www.youtube.com/watch?v=uo2UMRg7NOM
"Flamin' Mamie" - Coon-Sanders Original Nighthawk Orchestra
https://www.youtube.com/watch?v=NvNpB8ZLOFQ
"Dreaming the Waltz Away" - Jesse Crawford
https://www.youtube.com/watch?v=QxUp_PdP2Wc
"Deep Water" - George Straight
https://www.youtube.com/watch?v=7nFGErt9baU
"Pins and Needles (In My Heart)" - Bob Atcher and Bonnie Blue Eyes
https://www.youtube.com/watch?v=lXW299aJmpA
"Roly Poly" - Jim Reeves
https://www.youtube.com/watch?v=4xy6D7TBVZ8
"Texarkana Baby" - Roy Drusky
https://www.youtube.com/watch?v=9Q9j3vaQbiA
'Waltz of the Wind" - Gene Vincent and His Blue Caps
https://www.youtube.com/watch?v=IAz82pqVmeE
Clara Bow (1905?-1965) was one of America's first film sex symbols, known as the "It Girl." Her personality, coltish appearance, and devil-may-care lifestyle may have been more important in her film career than her acting ability; her screen presence could not be denied and she became the ultimate flapper of 1920s films. Her personal life was a subject of much discussion and she had a reputation for various sexual indiscretions -- much of unfounded or unproven; she negotiated her first contract with Paramount to not have a morals clause, which did not help the rumor mill. Supposedly, she was raped by her father when she was 16 and her mother institutionalized, although she had a warm relationship with her father for much of his life. Bow was one of the WAMPUS Baby Stars of 1924 and was engaged to marry actor Gilbert Roland in 1925. When she finally married, it was to rancher Rex Bell, later Lieutenant Governor of Nevada. Later in life, she had psychiatric issues and attempted suicide in 1944. She was institutionalized in 1949 and never returned to her family when she was released. She lived alone in a culver city bungalow for the rest of her life, latterly under the constant care of a nurse. She died at age sixty from a heart attack.
Bow starred with Richard Arlen and Kay Francis (in her first Hollywood film) in Dangerous Curves, directed by Lothar Mendes, adapted by Donald Davis and Florence Ryerson from a story by Lester Cohen, with additional dialogue by Viola Brothers Shore. Bow plays Pat Delaney, an circus bareback rider who is in love with Larry Lee (Arlen), the arrogant trapeze artist and the circus's most popular act. Lee, however, is smitten with Zara (Francis), who is just using him for what she get. when he finds out that Zara has been messing with another man, Lee flies into a rage and beats his rival. Unfortunately, Lee has to perform immediately after, but has lost his concentration and falls. Lee is briefly hospitalized and soon leaves the circus, his confidence shaken, and turns to drink. Pat finds him and convinced him to start a high wire act with her. But Lee's talent is gone...for the moment. Slowly the talent returns and Lee tries to convince Zara to join him in his act. Pat flees in tears and misses her performance and is fired. Zara runs off with her boyfriend and Lee gets drunk. Pat disguises herself as Lee and performs his act posing as him. Lee appreciates it. Could this be the start of something big?
A mawkish drama made palatable by Clara Bow's presence.
Give it a try:
https://www.youtube.com/watch?v=jFFNJNQe9lU&list=PLk2PLIM4DugyCGaumm5JKhM2hj8b5d-sj&index=2
Hard to believe, but Ever Arden was the third choice to portray the sarcastic high school teacher Connie Brooks in this classic radio comedy; when first choice Shirley Booth and second choice Lucille Ball fell through, CBS then-chairman persuaded Arden to audition for the role. The show first aired on CBS Radio on July 19, 1948 and ran until 1957. The characters and all but one of the regular actors moved to CBS television on October 3, 1952, running until May 11, 1956 -- ending one year before the radio show.
In addition to Eve Arden, the cast included Gale Gordon as Osgood Conklin, the gruff high school principal; Jeff Chandler (sometimes billed under his real name, Ira Grossel, as the absent-minded and clueless biology teacher Philip Boynton, who was the object of Connie Brooks' affections -- Chandler was the one cast member who did not transfer to the television program, leaving the show after five years to focus on his film commitments; Richard Crenna as the goofy, squeaky-voiced student Walter Denton; Gloria McMillan as Harriet Conklin, Osgood Conklin's daughter and Walter Denton's girlfriend; and Jane Morgan as Margaret Davis, Miss Brook's absent-minded landlady. Others appearing over the run of the radio program included Virginia Gordon, Gale Gordon's wife, who played Osgood Conklin's wife Martha; Leonard Smith and Eddie Riley, who played high school athletes Stretch and Bones Snodgrass; and Mary Jane Croft who played scheming high school teacher -- and Connie's rival for Boynton's affections -- Daisy Enright. Another member of the radio cast was Minerva, Mrs. Davis's cat, whose piano sleeping would result in perfectly timed piano riffs.
In 1956, after the television show was canceled, a theatrical film was made in which Connie Brooks and Philip Boynton were finally engaged.
In "The Sweater," Conklin decides to boost morale for the school's losing football team by having one of the teachers become a cheerleader, and he felt that Miss Brooks would be a fitting candidate. Then he discovered that a rival high school principal was voted faculty cheerleader by the student body. Not to be outdone, he began thinking about taking the role for himself...
Enjoy.
https://www.youtube.com/watch?v=meSmsnAOH0g
A pre-Code early talkie with Norma Shearer her most glamorous and Basil Rathbone at his most dashing.
"[T]his witty and stylish caper follows a clever jewel thief posing as a wealthy widow to infiltrate London's upper crust. Directed by Sidney Franklin and adapted from the hit stage play [by Frederick Lonsdale] features an all-star ensemble: Basil Rathbone as the elegant Lord Dilling, George Burraud, Herbert Bunson, and a delightfully sharp Hedda Hopper. Brimming with high society intrigue, snappy dialogue, and a dash of romantic suspense, this [...] is a must-watch for fans of vintage crime comedies and old Hollywood elegance."
The screenplay by Hanns Kraly, who received an Academy Award nomination for his script.
The original play, directed by Gerald du Maurier, opened on September 22, 1925 and ran for 385 performances. The original cast included du Maurier, Gladys Cooper, and May Whitty. a revival opened in June 1944 and subsequently toured the provinces until the following May. It was adapted flour times for the screen: first in 1929; again in 1937 with Joan Crawford, William POowell, and Robert Montgomery; a third time in 1951 as The Law and the Lady, starring Greer garson; and finally in a 1961 German production featuring Lilli Palmer.
Enjoy.
https://www.youtube.com/watch?v=2RuXxoq31PY