"Baby Love" by The Supremes

Today is cold and extremely windy and I feel under the weather, so this evening I will leave you with one of my favourite songs. "Baby Love" would be one of the earliest and biggest hits for The Supremes. It was written by the songwriting team of Holland–Dozier–Holland, who wrote and produced many of The Supremes' hits, as well as hits for Martha and The Vandellas and The Four Tops.

"Baby Love" hit no. 1 on the Billboard Hot 100 on October 31 1964. It was their second number one, after "Where Did Our Love Go?," making them the first Motown group to have more than one number one record. It hit no. 1 on the UK singles chart on November 19 1964, making them the first all-female group to have a number one record on the chart. Across the Pond, it was still at no. 1 on the Billboard Hot 100.

Hawk: An Obscure Burt Reynolds TV Series

In the Sixties, Burt Reynolds's star was on the rise. Since the late Fifties, he had made several guest appearances on television. Starting in 1962 he played half-Comanche blacksmith Quint Asper on Gunsmoke. In 1966 he starred in the spaghetti Western Navajo Joe. It should have then come as no surprise that Burt Reynolds received his own television series in 1966. Hawk was historic as the first American television show to centre on a Native American in a modern-day setting (it was preceded by Brave Eagle and Broken Arrow, which were both  Westerns).

Hawk starred Burt Reynolds as New York City police lieutenant John Hawk, who was full-blooded Iroquois. Hawk worked as a special investigator for the District Attorney's office. His partner was Dan Carter (Wayne Grice). Bruce Glover played Assistant District Attorney Murray Slaken, while Leon Janney played Assistant District Attorney Ed Gorton.

Hawk was created by Allan Sloane, who had written for such television series as The Big Story, Navy Log, Lamp Unto My Feet, and East Side/West Side. He was among the entertainment professionals who had been listed in the right-wing, anti-Communist pamphlet Red Channels. As a result in November 1952, CBS informed him that it would no longer accept any of his scripts. Fortunately, Mr. Sloane would find his way back to working in the television industry.

Hawk was one of a number of Native American roles Burt Reynolds played in his career, including Quint on Gunsmoke. For much of his career, Burt Reynolds claimed to be Cherokee. In his memoir But Enough About Me, Mr. Reynolds wrote "My dad had Native American blood. By the time it got down to me there wasn't much left, but I was proud of what there was."  Regardless, none of Burt Reynold's ancestry has been verified to have been Native American, despite his claims and the fact that he played many Native Americans throughout his career.

Aside from featuring a lead character who was Native American, Hawk was a bit ahead of its time in other ways. The show was filmed on the streets of New York City. Only a few shows before Hawk, such as Naked City and Route 66 regularly shot on location, with most series during the 1966-1967 season still being shot on studio backlots. Hawk also had a grittier, more realistic feel than many police dramas of its time, and in some ways was closer to such Seventies movies as The French Connection (1971), Serpico (1973), and The Taking of Pelham One Two Three (1974).

Hawk debuted on ABC on September 8 1966. For the most part, the series received positive reviews. Harry Harris of The Philadelphia Inquirer described Hawk as "Taut, suspenseful." Jack Gould wrote in The New York Times, "Enough virtues to suggest the series may find a niche for itself." Terence O'Flaherty called Hawk, "One of the best crafted of the new television programs." While Hawk received positive notices, it did not receive good ratings. Hawk aired on Thursday night at 10:00 Eastern/9:00 Central opposite The Dean Martin Show on NBC (which ranked no. 14 for the season) and The CBS Thursday Night Movie (which ranked no. 29 for the season). Against such competition, Hawk did so poorly that it was cancelled on December 29 1966 after only 17 episodes.

NBC aired repeats of Hawk during the spring of 1976 following Burt Reynolds's success in such movies as Deliverance (1972) and The Longest Yard (1974). In the Eighties, Colex Enterprises syndicated Hawk to local stations. More recently, it has aired on GetTV,

By today's standards Hawk is somewhat problematic. If made today, the question of Burt Reynold's Naive American heritage or lack thereof would make the show controversial. In fact, it seems likely that if Hawk had been made today an enrolled member of a Native American tribe would be cast as John Hawk. As it was for much of the 20th Century it was standard procedure for white people or other ethnicities to be cast as American Indians. On the 1950s television show Brave Eagle, the title character was played by Keith Larsen, who was Scottish, Danish, and Spanish in descent. In the Fifties, Middle-Eastern-born Michael Ansara played lead roles as Native Americans no less than twice, playing Cochise in the TV show Broken Arrow and Deputy Marshal Sam Buckhart in Law of the Plainsman.

Another problem with Hawk is that the show is essentially an assimilationist narrative. While we are told John Hawk is Iroquois, the culture and customs of the tribe play no real role on the show. John Hawk has been thoroughly assimilated into white society. This is in sharp contrast to later shows centred on Native American lawmen. While the star of Nakia, Robert Forster, was English and Italian in descent, the show often acknowledged Navajo traditions and customs. The three adaptations of Tony Hillerman's "Leaphorn and Chee" novels that aired on PBS and the current series Dark Winds (also based on Tony Hillerman's) not only feature Native American actors in the lead roles but go even further in the portrayal of Navajo culture.

While Hawk never dealt with the customs and culture of the Iroquois, the show is notable in dealing with the racism and discrimination that John Hawk faced, both on the streets of New York City and in the District Attorney's Office. While several television Westerns had dealt with racism against American Indians over the years, in the Fifties and Sixties it was rare that discrimination against Native Americans was dealt with in a modern setting.

Of course, as noted above Hawk was the first American show to centred on a Native American in a modern setting. Outside of Westerns, Native Americans were nearly invisible on American television. It was rare that Native Americans appeared in a modern setting. The absence of Native Americans from shows set in the present day for much of American television's history could well give the impression that Native Americans are a thing of the past, that they have gone extinct, or that they are no longer relevant.

The past several years have seen representation of Native Americans in films and on television somewhat improve from what it was. Not only have there been shows starring Native Americans, but shows made by Native Americans as well. This has allowed for much more accurate portrayals of Native life. While Hawk had many flaws, in some ways the show did pave the way for Native American characters on television.

The Late Great Shel Talmy

Shel Talmy, who produced legendary songs for The Kinks, The Who, and The Easybeats, died on November 13 2024 at the age of 87. The cause was complications from a stroke.

Shel Talmy was born on August 11 1937 in Chicago. From an early age he had an interest in music and how it was made. He was 13 years old when he appeared on the television version of Quiz Kids. After graduating high school Shel Talmy worked for ABC Television for a brief time. Afterwards he began working at Conway Studios Los Angeles, where he learned to use three-track recording equipment. He produced his first single after only three days at Conway Studios Los Angeles, "Falling Star" by Debbie Sharron. He also worked with the surf band The Marketts, The Castells, and Rene Hall and Bumps Blackwell.

It was in the summer of 1962 that Shel Talmy went to the United Kingdom for what was supposed to be a five-week vacation. He took only a small amount of money with him and he thought he might earn more as an independent music producer while he was on vacation. He signed to Decca Records, where he produced such acts as The Bachelors and Chad & Jeremy.

It was in 1964 that Shel Talmy produced what would be his breakthrough single, "You Really Got Me" by The Kinks. The song went to no. 1 in the United Kingdom and no. 7 in the United States. It also proved to be highly influential. Shel Talmy would produce several more songs for The Kinks, including their hits "All Day and All of the Night," "Tired of Waiting for You," "Till the End of the Day," "Dedicated Follower of Fashion," "Sunny Afternoon," and "Waterloo Sunset."

The Kinks' song "You Really Got Me" so impressed Pete Townshend of a band called The High Numbers that it inspired his song 'I Can't Explain." He played the song for Shel Talmy in hopes that he would produce it. Shel Talmy agreed and it became the first song he produced for The Who, as The High Numbers became known. "I Can't Explain" proved to be The Who's first hit in the United Kingdom, going to no. 8 on the singles chart. He also produced their next hit, "Anyway, Anyhow, Anywhere," which also hit the top ten of the British singles chart. Shel Talmy went onto produce The Who's singles "My Generation," "A Legal Matter," "The Kids Are Alright," and "La La La Lies." He also produced The Who's debut album, My Generation.

Shel Talmy would also produce the hit singles "Friday on My Mind" by The Easybeats, "Just Like a Woman" by Manfred Mann, "A Summer Song" by Chad & Jeremy,  and "(If Paradise) Is Half as Nice" by Amen Corner. While in Britain he produced songs for such other artists as David Bowie, The Creation, Roy Harper, Pentangle, The Fortunes, and many others. He was also part of the music department of the horror movie Scream and Scream Again (1970).

By the early Seventies Shel Talmy was producing fewer records. During the Seventies he would still do some remarkable work as a music producer, producing records, for Follow the Buffalo,  The Damned, Eddie Phillips, Small Faces, Ralph McTell, and Band of Joy. Shel Talmy returned to the United States in 1979. Although he worked less on producing records, he still served as a producer for such artists as Sorrows, Jon and the Nightriders,and  Fuzztones. He more recently produced records for Hidden Charms and Strangers in a Strange Land.

Shel Talmy was quite simply a music legend. He was a pivotal figure in the British Invasion, producing some of its best known songs, from "You Really Got Me" to "My Generation" to "A Summer Song." He also played an important role in the careers of The Kinks and The Who. Arguably he was essential to the development of the subgenre power pop having produced such songs as "You Really Got Me" and "I Can't Explain." While perhaps best known for the work he did with such rock artists as The Kinks, The Who, and The Creation, he also worked in other genres. He produced songs for the folk group Pentangle and folk rock artist Roy Harper. Shel Talmy had an enormous impact on music that will continue to be felt for years to come.

William Conrad in Film Noir

For many, William Conrad will always be the narrator on Rocky and Bullwinkle or detective Frank Cannon on the TV series Cannon. For others he will always be Marshal Matt Dillon on the radio show Gunsmoke or prosecuting attorney J. L. "Fatman" McCabe on Jake and the Fatman. For film noir fans, he may be best remembered as a heavy in several films noirs.

As an actor in the late Forties and the Fifties, William Conrad found himself in the same situation as another large actor, Raymond Burr. Both often found themselves cast as heavies in films noirs, Westerns, period dramas and even horror movies. In a interview with James Bowden in the September 14 1993 issue of The Toronto Star, Raymond Burr said of his early career, "I was just a fat heavy. I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men."  In various films noirs it not difficult to picture Raymond Burr in a William Conrad part or William Conrad in a Raymond Burr part.

Indeed, William Conrad began playing heavies early in his film career. In fact, his first credited role was the hitman Max in the classic film noir The Killers in 1946. As hitmen Max and his partner Al (Charles McGraw) are deadly serious. Early in the film they calmly and coolly take over a small town diner, making it clear that this is something they regularly do. As Max, William Conrad makes a lasting impression. It is made all the more remarkable by the fact that The Killers was only his second film.

William Conrad's next major heavy in a film noir, Quinn in Body and Soul (1947), is as sleazy as Max in The Killers (1946) is calm, cool, and collected. Quinn is the manager of boxer Charley Davis (John Garfield), and for Quinn making a quick buck is more important than Charley winning matches. Indeed, he is more loyal to making money than any boxer he has ever managed.

In Sorry, Wrong Number (1948) William Conrad plays a rather different sort of heavy. Morano is amiable and even a bit charming, but he has no objections against instructing someone else to commit murder. While Morano is an affable sort, the same cannot be said for Ollie in One Way Street (1950). Part of the crew of a heist of $500,000, Ollie not only has no objections to murder, he has no objections to committing it himself. What is more, he is not particularly friendly either. In contrast to Ollie, Louie Castro in Cry Danger (1951) is a bookie and in some ways not particularly brave.

While William Conrad played criminals in film noirs, he also played police officers. In East Side, West Side (1949), he played homicide detective Lt. Jacobi. In Tension (1950) he played another homicide detective, Lt. Blackie Gonsales, who assists fellow homicide detective Lt. Collier Bonnabel. In the 1951 version of The Racket, William Conrad played Detective Sergeant Turk. In Cry of the Hunted (1953) he played Goodwin, an assistant to lawman Lt. Turner, who is searching for a dangerous fugitive.

In two other film noirs, William Conrad played roles that were far removed from either criminals or cops. In Dial 1119 (1950) he played Chuckles, the ill-fated bartender at the Oasis Bar. In 5 Against the House (1955), he played another unlucky character. He played casino employee Eric Berg, who is threatened with death if he does not assist the crew robbing the casino.

In many ways William Conrad had more luck with roles in radio and on television than he had in movies. Often playing heavies in the movies, in radio and on television he actually played heroes. While he would play many bad guys in television guest appearances, he also played Matt Dillon on the radio show Gunsmoke and Frank Cannon on Cannon. Still, while he might have tired of playing one heavy after another in the movies, there can be no doubt that William Conrad was very good at being a bad guy. Max in The Killers, Quinn in Body and Soul, and Morano in Sorry, Wrong Number, remain memorable for reason.

Some Tips for Using BlueSky

The past week has seen the social media service BlueSky add one million users as people flee Twitter (which its owner insists on calling "X"). I have been on Bluesky for over a year (since October 29 2023) and in the past two days, both my followers and those I follow have doubled. With so many people joining BlueSky, I thought I would offer some tips I have learned over the months I have been using it.

Starter Packs: Everyone who has ever joined a social media service has had difficulty finding people to follow once they have joined a new service. I have to think many people wind up searching for their friends on the new service, something that can take time. Fortunately, this summer BlueSky introduced a solution to this problem. Starter Packs are a feature that allows users to find people and feeds to follow right away. Anyone can create a Starter Pack. All of the Starter Packs I have seen are devoted to a specific subject. I created one I call the Classic Movie & TV Starter Pack, which includes fans of classic movies and TV shows (most of them are from the TCMParty and Svengoolie crowds). I have seen others devoted to Comic Book Journalists, TV and Pop Culture People, the Reuters Newsroom, and so on. Starter Packs are a good way to find people to follow right away. I really wish BlueSky had them when I had joined.

Lists: In addition to Starter Packs, BlueSky also has lists that function pretty much in the same way as Twitter's lists do. Now some of you might be wondering what the differences between lists and Starter Packs are. Well, for one thing, lists only include users, while Starter Packs can include both users and feeds. For another thing, when one follows a Starter Pack, they follow every single person and feed in that Starter Pack. When one follows a list, they are not actually following all of the users on that list, even though they will see their posts in their feed.


Custom Feeds: Custom feeds are one of the things that really separates BlueSky from Twitter and some of the other microbloggers. While BlueSky's default "Following" feed displays posts from everyone and everything a user follows, custom feeds allow the user to create their own algorithm for a feed. For instance, one could create a custom feed where one only sees photos of people's pets. I created one that displays all posts using the hashtag Svengoolie. Custom feeds are good for someone who wants a more curated experience on BlueSky. There are websites that make creating a custom feed easy, including SkyFeed and BlueSky Feed Creator.

Hashtags: Like Twitter, Tumblr, and Instagram, BueSky uses hashtags. As might be expected, hashtags are another way one can customize one's experience on BlueSky. If you click on a hashtag on BlueSky, a little box will pop up that reads "See (hashtag); See (hashtag) posts by user; and Mute (hashtag). If one wants to see posts for #TCMParty and one is looking at a post containing the hashtag, all they would have to do is click on #TCMParty and then click "See #TCMParty." Clicking "See #TCMParty by user" would show one all the posts by that user containing the hashtag. If one, God forbid, clicked "Mute #TCMParty," that would make it so that one would never see posts containing the hashtag.

Unfortunately, BlueSky is still a bit wonky when it comes to hashtags. For instance, unlike the primary "Following" feed, hashtag feeds can take quite a while to update on BlueSky. This makes live posting, such as #TCMParty and the live posts to #Svengoolie, somewhat difficult. Fortunately, there is a solution in the form of Deck Blue. Deck Blue is essentially the BlueSky equivalent of TweetDeck. With Deck Blue one can set how often one's feeds refresh. I have my #TCMParty and #Svengoolie feeds set to "15 seconds," which is a whole faster than they refresh on BlueSky itself!

Moderation: There was a time when BlueSky lacked a block button and content moderation was very much a work in progress there. Fortunately, that time was pretty much past by the time I joined in late October of last year. Today BlueSky has some of the best moderation tools of any social media service. Much like Twitter, one can mute words and hashtags. There are also moderation lists, in which one can mute or even block several users at once. As to the blocking function on BlueSky, it is fairly robust. Once a user is blocked, they cannot interact with the individual who blocked them in any way shape, or form.

As if all of this was not enough, one can disable or enable adult content, show or hide non-sexual nudity, and discourage apps from showing one's account to users who aren't logged in. Beyond all of this, there is also the BlueSky Moderation Service, through which one can hide everything from extremist posts to racist posts. This may well be why in the whole year I have been on BlueSky I have not seen much in the way of trolls.

Now one disadvantage to BlueSky that has, unlike many social media services, they do not have  private accounts. That means anyone can see one's posts except for those people they have blocked. This does not bother me, as all of my social media accounts are public except for Facebook, but it might be a deal breaker for some.

A number of alternatives to Twitter have arisen in the past few years, particularly since Twitter changed ownership in April 2022. And now it is fairly clear that Twitter is on its last legs. It would appear that many have decided BlueSky will be its replacement. Having been on BlueSky for over a year, I really cannot argue with that. It is a fine microblogger and feels a lot like Twitter had once been.

Godspeed Tony Todd

Tony Todd, who appeared in the movie The Crow and the "Candyman" movies, as well as the TV shows Star Trek: The Next Generation and Star Trek: Deep Space Nine, died on November 6 2024 at the age of 69 following a long illness.

Tony Todd was born on December 4 1954 in Washington, DC. He attended the University of Connecticut for two years before he received a scholarship at the Eugene O’Neill National Theatre Institute. Afterwards he spent time at the Hartman Conservatory in Stamford, Connecticut, and the Trinity Repertory Company in Providence, Rhode Island.

Tony Todd made his film debut in 1986 in Sleepwalk. He made his television debut in 1987 in an episode of Simon & Simon. In the late Eighties he guest starred on the shows Werewolf, 21 Jump Street, Kate & Allie, Night Court, Matlock, and Cop Rock. He appeared in the movies Platoon (1986), 84 Charing Cross Road (1987), Bang! You're Dead! (1987), Enemy Territory (1987), Colors (1988), Bird (1988), Lean on Me (1989). Night of the Living Dead (1990), and Voodoo Dawn (1990).

In the Nineties Tony Todd had recurring roles on the shows Jake and the Fatman, Star Trek: The Next Generation, Star Trek: Deep Space Nine, and Homicide: Life on the Street. He starred in the mini-series Black Fox. He guest starred on the shows Father Dowling Mysteries; Law & Order; The X-Files; Hercules: The Legendary Journeys; Murder, She Wrote; New York Undercover; Beverly Hills, 90120; NYPD Blue; Xena: Warrior Princess; Soldier of Fortune, Inc.; Star Trek Voyager; and Angel. He played the title role in the horror movie Candyman (1992). He would reprise the role in the sequels Candyman: Farewell to the Flesh (1995) and Candyman: Day of the Dead (1999). He played funeral director William Bludworth in Final Destination (2000) and reprised the role in the sequel Final Destination 2 (2003). He was the voice of a devil at an amusement park ride in Final Destination 3 (2006). He reprised the role of William Bludworth one last time in Final Destination 5 (2011).  He played Top Dollar's bodyguard Grange in The Crow (1994). He also appeared in the movies Sunset Heat (1992), Excessive Force (1993), Bunzy's Last Call (1995), Sabotage (1996),. The Rock (1996), Driven (1996), Stir (1997), Wishmaster (1997), Univers'l (1997), Shadow Builder (1998), Caught Up (1998), Butter (1998), The Pandora Project (1998). The Dogwalker (1999), and Le Secret (2000).

In the Naughts Tony Todd had recurring  roles on the TV shows Stargate SG-1, Chuck, and The Event. He guest starred on the shows UC: Undercover, Smallville, Crossing Jordan,  Andromeda, Charmed, Boston Public, CSI: Miami,.The District,  24, Night Stalker, Criminal Minds, Masters of Horror, Boston Legal, Without a Trace, 24, and Psych. He was a guest voice on Batman: The Brave and the Bold. He appeared in the movies Silence (2002), Control Factor (2003), Scarecrow Slayer (2003),. Murder-Set-Pieces (2004), Checking Out (2005), The Prophecy: Forsaken (2005), Dark Assassin (2005),. Heart of the Beholder (2005), Turntable (2005), Minotaur (2006),. Shadow: Dead Riot (2006), Hatchet (2006), The Strange Case of Dr. Jekyll and Mr. Hyde (2006), Shadow Puppets (2007), Tournament of Dreams (2007), The Man from Earth (2007), The Mansfield 12 (2007), Murders (2008), Dark Reel (2008), Nite Tales: The Movie (2008), The Thirst: Blood War (2008), Are You Scared? 2 (2009), Vampire in Vegas (2009), Penance (2009), The Graves (2009), Tom Cool (2009), The Quiet Ones (2010), Hatchet II (2010), and Three Chris's (2010).

In the Teens Mr. Todd was the voice of Zoom on the live-action television series The Flash. He had a recurring voice role on the animated series Transformers: Prime.  He had recurring roles on the daytime soap opera The Young and the Restless and Dead of Summer. He guest starred on the shows Hawaii Five-0, Room 104, Riverdale, The Orville, and Scream: Resurrection. He was a guest voice on the animated shows Young Justice and Bravest Warriors. He appeared in the movies Beg (2011), Dream in American (2011), Jack the Reaper (2011), The Family (2011), Falling Away (2012),. Changing the Game (2012), Sushi Girl (2012),. A Night at the Silent Movie Theatre (2012), Dead of the Nite (2013). Dust of War (2013), Kill Her, Not Me (2013), Army of the Damned (2013), Disciples (2014), Bleeding Hearts (2015), Vanish (2015), Agoraphobia (2015). Live Evil (2015), Scream at the Devil (2015). Beyond the Game (2016),. Broken Cross (2016), Zombies (2016), Victor Crowley (2017), Death House (2017), From Jennifer (2017). Two Faced (2017), The Debt Collector (2018), West of Hell (2018),. The Final Wish (2018). Drive Me to Vegas and Mars (2018), Requiem (2018), Candy Corn (2019). Badland (2019), Immortal (2019). Bulletproof 2 (2020),. Sky Sharks (2020), Tales from the Hood 3 (2020), and Stoker Hills (2020). He was a voice in the animated movies Lego DC Comics Super Heroes: Justice League vs. Bizarro League (2015), Lego DC Comics Super Heroes: Justice League – Attack of the Legion of Doom (2015), Reign of the Supermen (2019), and Justice League Dark: Apokolips War (2020).

In the 2020s Tony Todd was a regular voice on the animated series Dolta: Dragon's Blood. He appeared in the films Insight (2021), The Lockdown Hauntings (2021), The House Next Door: Meet the Blacks 2 (2021), Destination Marfa (2021), Candyman (2021), The Changed (2021), The Reenactment  (2021)., Horror Noire  (2021). Night Night (2021), All Gone Wrong (2021), Traveling Light (2021), Hellblazers (2022), Bitch Ass (2022),  Catfish Christmas (2022),  Realm of Shadows (2023),  Devilreaux (2023), Dixieland (2023), The Nana Project (2023), The Bunker (2024), and Stream (2024).

Tony Todd was an enormous talented actor. He made an impression as the quiet and intelligent, but deadly Grange in The Crow. He was suitably menacing as Candyman in the "Candyman" movies. He gave good performances as William Bludworth, the funeral director in the "Final Destination" movies who is an expert on Death. Although best remembered for his movie roles, Tony Todd also gave some remarkable performances on television. He was convincing as the bothersome, but nonetheless intrepid news reporter Matt Rhodes on Homicide: Life on the Street. He also gave great performances as Kurn, the younger brother of Lt Worf, on Star Trek: The Next Generation and Star Trek: Deep Space Nine. He was impressive in the X-Files episode "Sleepless" as former Marine Augustus Cole. Chances are good Todd will always be best remembered as Grange in The Crow and his work in the 'Candyman" and "Final Destination" movies, but he gave many great performances throughout his career.

Dial 1119 (1950)

Dial 1119 is not among the best known films noirs, but there is every reason it should. Dial 1119 was produced on a low budget, but is nonetheless a remarkable fan. Although it resembles a filmed play or the live television productions of its time (most of the film takes place on only two sets), it is still a very effective, very taught suspense movie. Besides this, in some ways Dial 1119 was prescient, addressing issues that would become discernible with the passage of time.

In Dial 1119 psychotic mental patient Gunther Wyckoff (Marshall Thompson) escapes from a mental hospital with the intent of finding and killing the psychiatrist who had him committed, Unfortunately, Wyckoff manages to get his hands on a gun and makes his way to Dr. Faron's apartment. Dr. Faron is not there, so Wyckoff goes to the Oasis Bar across the street. It is after the bartender realizes who Wyckoff is that the Oasis Bar finds itself hostage to the escaped mental patient as he waits for Dr. Faron.

Dial 1119 was one of the low-budget, messages films made at MGM when Dore Schary was head of the studio's "B" unit. It was also the first feature film to be directed by Gerald Mayer, the nephew of Louis B. Mayer. Gerald Mayer would go on to direct such movies as The Sellout (1952) and Bright Road (1953), but is perhaps better known for his work in television on such shows as Mission: Impossible and Mannix. The film had the working titles of The Violent Hour and The Standoff before finally being titled Dial 1119.

As a B-movie, Dial 1119 features no major movie stars, but much of its cast would be recognizable to fans of classic movies and television today Wyckoff is played by Marshall Thompson, who now may be best known s Dr. Tracy from the TV show Daktari. He already had a considerable resume, including appearances in The Clock (1945) and Mystery Street (1950). Sam Levene, who appeared in everything form After the Thin Man (1936) to Brute Force  (1947), played Dr. Faron. Leon Ames, now best known as father Alonzo Smith in Meet Me in St. Louis (1944) and District Attorney Kyle Sackett in The Postman Always Rings Twice (1946). William Conrad played the ill-fated bartender Chuckles. Recognizable to many for the Seventies detective series Cannon, he appeared in several films noirs, including The Killers (1946) and Body and Soul (1947). He would also be the voice of Matt Dillon on the radio show Gunsmoke and the narrator on the Jay Ward cartoons Rocky and Bullwinkle and Hoppity Hooper.

Dial 1119 took its title from the telephone number "1119," a fictional police emergency number in the movie. This was part of a trend towards movie titles containing phone numbers that included Call Northside 777 (1948) and Southside 1-1000 (1950). At the time Dial 1119 was made, the only emergency number in use in the entire world was 999, which had been in use in London since 1937.The number 999 would expand other parts of Britain over the years, but it would not go into use to all of the United Kingdom until 1976. As to the emergency number 911 in the United States, it would not go into use until 1968. In many ways Dial 1119 was then well ahead of its time.

Dial 1119 was also ahead of its time in that television plays a central role in the movie. It is through the television set in the Oasis Bar that bartender Chuckles learns escaped mental patient Wyckoff is in the bar. Of course, the television set in the bar is extremely advanced for the era. For one thing, it is a flat screen television. In 1954 General Electric introduced a proposal for a flat screen display that would provide the basics for flat screen television sets to come, but there would not be a mass-produced, flat screen television until 1997. It was manufactured by Phillips. The TV set is also controlled by a remote. Zenith manufactured a remote in 1950 that was connected to the television, but it would not be 1955 that there would be a wireless remote (the Flash-Matic).

Beyond Chuckles learning that Wyckoff is in the bar through television, television also played a major role in the film in another way. It is one of the earliest movies to ever depict a television station conducting a remote broadcast. In the movie television station a remote  location from WKYL-TV pulls up outside the bar and the station begins coverage of the unfolding hostage crisis. In this way Dial 1119 also serves as one of the earliest critiques of television journalism. Indeed, WKYL-TV's coverage often gives away the police department's strategy, even was Wyckoff is in the bar with a television set.

Dial 1119 is also notable for addressing mental illness, particularly the negative attitude many had towards it at the time. As might be expected, Dr. Faron is sympathetic to Wyckoff, knowing that he cannot help having a mental disorder. Unfortunately, others are not so sympathetic. When Dr. Faron offers to go into the bar to talk to Wyckoff, the police refuse to allow him to do so. Captain Kiever of the police department even flatly tells Dr. Faron, a licensed psychiatrist, "Nobody's going to talk this guy into surrendering." While Wyckoff is the antagonist of Dial 1119, he is presented sympathetically for the most part. Indeed, he was rejected by the Army after failing his psychiatric evaluation, after which his mental disorder only got worse.

Dial 1119 was released on November 3 1950. It received a mostly positive review form The New York Times, which begins "Since crime does not pay, and melodrama about crime is only persuasive if it keeps the customers on edge, Dial 1119, the modest but effective adventure which came to the Globe on Saturday, can be listed as fitting those specifications quite neatly." Wylie Williams in the Los Angeles Evening Citizen News also gave Dial 1119 a good reviews, writing, " "Moviegoers of the fingernail-biting variety are promised a good chewing session in Dial 1119, a thriller with enough suspense to go around for everybody."

While Dial 1119 received positive notices from critics, audiences did not flock to the film in 1950. It was made for only $473,000, but only made $402,000 in the United States and Canada. As a result, it did not make a profit. While it failed at the box office on its initial release, Dial 1119 would be regularly shown on television in the Sixties and Seventies. It has since been shown on cable channels such as TNT and TCM.

Although made on the cheap, Dial 1119 is a taunt, suspense-filled film filled with some fine performances and meaningful dialogue. It was also in many ways ahead of its time, one of the earliest films to critique television journalism and one of the earliest films to treat mental disorders as something other than a plot device.

Dreamkeeper (2003)

While Native Americans are still largely absent from television and movie screens, they are more visible than they have been in decades. Television shows such as Reservation Dogs and Dark Winds and movies such as Killers of the Flower Moon (2023) and Rez Ball /(2024) have given American Indians a higher profile than they have had in many years. This was certainly not the case in 2003, when Native Americans were almost never seen on television. An exception to this rule was the two-part television movie Dreamkeeper. Dreamkeeper both centred on Native Americans and featured a primarily Native American cast.

Dreamkeeper centred on Lakota storyteller Peter Chasing Horse ((August Schellenberg) and his grandson Shane Chaing Horse (Eddie Spears) as they travel from Pine Ridge Indian Reservation in South Dakota to the All Nations powwow in Albuquerque, New Mexico. As they travel, Peter tells Shane legends and stories from various tribes in help his grandson embrace his Native identity. Among the stories Peter tells Shane are tales of Coyote and Iktomi the spider; the Cheyenne story of the Quillwork Girl and her seven star brothers; the story of a Chinook woman who sacrifices herself to cure her village; and the Northwest coast legend of Eagle Boy. Dreamkeeper was aired in two parts on ABC, with the first part airing on December 28 2003 and the second part on December 29 2003.

Dreamkeeper was produced by Hallmark Entertainment. Although today Hallmark is known for schmaltzy romantic comedies and Christmas movies, in 2003 they were still known for quality television movies and mini-series. They had produced the 1996 mini-series Gulliver's Travels, the 1997 mini-series The Odyssey, and the 2001 TV movie The Lost Kingdom (based on the novel Journey to the West).

While Dreamkeepr centred on Native Americans and featured a primarily Native American cast, its creators were not American Indians. It was produced by Ron McLeod, who had been a producer on the 1990s revival of The Outer Limits, and Matthew O'Connor, who was the supervising producer on the 1990 mini-series It and the 1996 TV movie Captains Courageous. It was written by John Fusco, who had written the screenplays for such films as Crossroads (1986) and Young Guns (1988). It was directed by Steve Barron, who had directed the 1984 cult film Electric Dreams and the 1990 live-action movie Teenage Mutant Ninja Turtles. While Dreamkeeper was not the creation of Native Americans, during filming advisors from the Lakota, Kiowa, Cheyenne, Pawnee, Blackfeet, Mohawk and Crow were on hand to ensure authenticity and suggest any changes that should be made.

As mentioned earlier, Dreamkeepr had a largely Native American cast, and many of those names remain recognizable to this day. Gary Farmer of Smoke Signals (1998) fame, actor and activist Floyd Red Crow Westerman, Tantoo Cardinal (known for Dances with Wolves and Smoke Signals), August Schellenberg from the Free Willy movies, and others.

Dreamkeeper had a longer production schedule than the average television movie. It was shot over four months. It also involved filming at a variety of locations, including Saguaro National Park in Arizona,  Ghost Ranch in  Abiquiu, New Mexico, Jemez Pueblo in New Mexico, Pine Ridge in South Dakota, and places around Drumheller, Alberta. Bringing some of the legends to life required considerable special effects. A few scenes even involved a stampede of 1500 bison.

Dreamkeeper received largely positive reviews. Jacqueline Cutler wrote in the December 28 2003 issue of The Los Angeles Times, "ABC’s Dreamkeeper is that rarest of miniseries for which it is worth setting aside family viewing time." Columnist Jerry Graham wrote of the TV movie, "Dreamkeeper is the best glimpse into the culture of American Indians that I have ever seen." Dreamkeeper proved popular with audiences as well. It was seen by 8 million viewers.

Dreamkeeper was released on DVD and remains available in that format. It is also available on streaming, on Peacock, Amazon, and Freeveee. The two-part movie also remains loved by many, as evidenced by a 94% audience score on Rotten Tomatoes. It is easy to understand why Dreamkeeper would still be loved by audiences. It was in many ways a pioneering television movie. At a time when Native Americans were virtually invisible in movies and television, it presented both modern day Native Americans (Peter and his son) and legends from various Native American cultures. What is more, it was a very well-done production. Dreamkeeper may not be particularly well-known today, but it really should be.

Alan Rachins Passes On

Alan Rachins, who appeared on the shows L.A. Law, Dharma & Greg, and Rizzoli & Isles, died on November 2 2024 at the age of 72. The cause was heart failure.

Alan Rachins was born on on October 3 1942 in Cambridge, Massachusetts. He grew up in Boston. He graduated from Brookline High School and then attended the Wharton School at the University of Pennsylvania for two years before he moved to New York City to pursue a career in acting.

Alan Rachins made his debut on Broadway in 1967 in After the Rain. In the late Sixties he appeared on Broadway in Hadrian VII and Oh! Calcutta!. It was in 1972 that he became a fellow in the writing and directing programs at the American Film Institute (AFI). He was an AFI intern to director Arthur Penn on the movie Missouri Breaks (1976). He went onto direct an episode of the short-lived show Paris, and to write episodes of Hart to Hart and The Fall Guy.

Alan Rachins made his television debut in 1975 in the television movie Fear on Trial. In the late Seventies he guest starred on the shows The White Shadow, Barnaby Jones, Dallas, and Paris. He made his film debut in 1982 in the movie Time Walker. In the Eighties he appeared in the movies Alway (1985), Thunder Rain (1985), and Heart Condition (1990). It was in 1986 that he began his stint as Douglas Brackman, Jr. on the hit TV show L.A. Law. He guest starred on the show Brothers, D.C. Follies, J.J. Starbuck, and Ferris Bueller. He appeared in the TV movie Perry Mason: The Case of the Silenced Singer.

In the Nineties Alan Rachins continued to appear on L.A. Law. It was in 1997 that he began playing Larry Finkelstein on the sitcom Dharma & Greg. He played the Clock King on Batman: The Animated Series. He guest starred on the shows Ferris Bueller, The Golden Girls, Tales from the Crypt, Courthouse, The Outer Limits, Poltergeist: The Legacy, Diagnosis Murder, Lois & Clark: The New Adventures of Superman, Stargate SG-1, and Love Boat: The Next Wave. He appeared in the mini-series Lady Boss. He appeared in the movies North (1994), Terminal Voyage (1995), Showgirls (1995), Meet Wally Sparks (1997), Leave Ito  Beaver (1997), and Unwed Father (1997).

In the Naughts he continued to appear on Dharma & Greg. He was the voice of Norman Osborn on the animated series The Spectacular Spider-Man. He guest starred on the shows The In-Laws, Just Shoot Me!, CSI: Crime Scene Investigation, Close to Home, Eli Stone, and Surviving Suburbia.

In the Teens Alan Rachins played Stanley on Rizzoli & Isles. He guest starred on the shows Happy Endings, Good Luck Charlie, The Crazy Ones, Mom, The Middle, General Hospital, and Grey's Anatomy. He was a voice in the movies  Answers to Nothing (2011) and Scooby-Doo! Mecha Mutt Menace (2013). In the 2020s he guest starred on Young Sheldon and NCIS.

Alan Rachins was a remarkable character who could play a wide variety of characters. As Douglas Brackman, Jr., the Managing Partner of Mackenzie, Brackman, he was boorish, self-important, and pompous. Ageing hippie Larry Finkelstein couldn't be any further from Brackman. Larry believes in several different conspiracy theories (usually centred around Richard Nixon) and can generally clueless. Stanley on Rizzoli & Isles was different from either Brackman or Larry. Stanley is essentially a grumpy old man who is entirely devoted to Divisuon One Cafe at the Boston Police Department.  Alan Rachman had a knack for crafting a wide array of unusual characters, from lawyers to scientists to supervillains.

The Late Great Quincy Jones

Quincy Jones, the legendary record producer, composer, and songwriter who worked with artists from Count Basie to James Ingram, died on October 31 2024 at the age of 91.

Quincy Jones was born in Chicago on March 14 1933. His mother was committed to a mental hospital when he was 7 years old. His father later divorced his mother and remarried. It was in 1943 that his father moved the family from Chicago to Bremerton, Washington, They later moved to Seattle, where Quincy Jones attended Garfield High School. It was while he was in high school that he honed his skills as a trumpeter and took an interest in music composition and arrangement. Quincy Jones attended Seattle University for a semester before transferring to Berklee College of Music in Boston on a scholarship.

Quincy Jones left college to play trumpet with Lionel Hampton. He left Mr. Hampton in 1954 and moved to New York City. It was in 1956 that he signed with ABC Paramount Records In the Fifties he played as a sideman for such artists as Clifford Brown, Dizzie Gillespie, and Art Farmer. His first album, recorded with drummer Roy Haynes, Jazz Abroad was released in 1955. During his career he released 36 albums, the last being Q Soul Bossa Nostra.

The first album on which Quincy Jones served as a composer was Standards by Ray Anthony in 1954. The first album he produced was Helen Merrill's self-titled debut album in 1955. Over the years he produced albums by such artists as Art Farmer, Billy Eckstine, Dizzie Gillespie, Little Richard, Leslie Gore, Sarah Vaughn, Aretha Franklin, Michael Jackson, Patti Austin, and Frank Sinatra. He produced such hits as "It's My Party" by Lesley Gore and Michael Jackson's album Thriller. He served as an arranger for many artists, including Big Maybelle, Dinah Washington, Diahann Carroll, Ray Charles, Dizzy Gillespie, Count Basie, Andy Williams, Ella Fitzgerald, Louis Armstrong, Frank Sinatra, and Lena Horne.

During his career Quincy Jones composed themes for such television shows as Ironside, The NBC Wednesday Mystery Movie, Sanford and Son ("The Street Beater"), and Now You See It. He also composed the soundtrack for the mini-series Roots .He composed the soundtracks for such movies as The Pawnbroker (1964), Mirage (1965), The Slender Thread (1965), Walk Don't Run (1966), The Deadly Affair (1967), Enter Laughing (1967), In the Heat of the Night (1967),  In Cold Blood (1967), Mackenna's Gold (1969), The Italian Job (1969), Bob & Carol & Ted & Alice (1969), Cactus Flower (1969), The Anderson Tapes (1971), The Getwaay (1972), and The Wiz (1978).

Beyond his music career, Quincy Jones served as a producer on such movies as The Color Purple (1985), Stalingrad (1990), Steel (1997), and The Color Purple (2023). He produced such TV shows as The Fresh Prince of Bel-Air, In the House, and MADtv.

Quincy Jones did nearly everything in music. He played music. He arranged music. He produced records. He scored movies. Beginning his career as a remarkable trumpeter, he became a remarkable producer, arranger, and composer. Many of his compositions remain iconic, including the song "In the Heat of the Night" and the Sanford and Son theme "The Streetbeater." He produced some huge hits, from "It's My Party" by Lesley Gore to "Beat It" by Michael Jackson. Quincy Jones had an enormous impact on music that is still being felt.

The Late Great Greg Hildebrandt

Illustrator and artist Greg Hildebrandt, who worked both with his late twin Tim and on his own, died on October 31 2024 at the age of 85. The Brothers Hildebrandt were known for their iconic Star Wars (1977) and Clash of the Titans (1981) posters. Both with is brother and on his own, Greg Hildebrandt was also known for his work on The Lord of the Ring calendars, DC Comics, and Marvel Comics.

Greg and Tim Hildebrandt were born on January 23 1939 in Detroit. They were only six years old when they started drawing their own comic books. They were heavily influenced the style of classic Disney animated movies such as Snow White and the Seven Dwarfs (1937), Pinocchio (1940), and Fantasia (1940). Comic books, paperback covers, and the work of Maxfield Parrish and Norman Rockwell were also influences.

The Brothers Hildebrandt took a six-month class at the Meinzinger Art School in Detroit. By 1959 they were painting professionally. They did some work for the Detroit-based Jam Handy Organization, who created industrial films and sales films. It was in 1963 that they moved to New York City where they went to work for Fulton J. Sheen providing art for his TV series Life is Worth Living.

The Brothers Hildebrandt created the art work for the Lord of the Rings calendars that Ballantine Books published from 1976 to 1978. It was in 1977 20th Century Fox approached the twins about creating poster art for the release of the Star Wars (1977) in the United Kingdom. While a poster had already been created by artist Tom Jung, the studio considered it too dark. The Brothers Hildebrandt then created the famous Style"B" poster for Star Wars (1977). The Brothers Hildebrandt developed thier own idea for a fantasy movie called Urshurak. Failing to ever sell it as a film, Urshurak was published as a graphic novel in 1979. They later created the poster for Clash of the Titans (1981).

It was following their work on the Clash of the Titans poster that Greg and Time began to work separately. He did covers for the magazines Omni and Heavy Metal. He also illustrated covers for books from Dracula to The Wonderful Wizard of Oz to The Phantom of the Opera. He created covers for the Trans-Siberian Orchestra's albums, as well as their merchandise. He also did work for DC Comics, Marvel Comics, and Wizards of the Coast. He also illustrated his own book, Greg Hildebrandt’s Favorite Fairy Tales (1984) and in 1999 began work on a series of 1940s-1950s style pinups called "American Beauties."

The Brothers Hildebrandt were very much a part of my childhood and teen years given their work with The Lord of the Rings and Star Wars. And I always appreciated their art more so than many other artists of time. They had a realistic style with a richness of colour rarely seen in the work of other fantasy illustrators. Indeed, even after Peter Jackson's Lord of the Rings movies had come out, it is still their illustrations that come to my mind when I think of the novel. Of course, Greg Hildebrandt worked separately from his brother, and he did a lot of great work. From the over of the Black Sabbath album The Mob Rules to his "American Beauties" pinup series, he created a wide variety of artwork. It has been nearly fifty years since I first saw Greg Hildebrandt's work, and he still remains one of my favourite artists.

The Late Great Teri Garr

Beloved star of film and television Teri Garr died on October 29 2024 at the age of 79. She had been diagnosed with multiple sclerosis years ago. Teri Garr had appeared in such movies as Head  (1968), Young Frankenstein (1974), and Mr. Mom (1983), and on such TV shows as Star Trek, McCloud, and Friends.

Teri Garr was born on December 11 1944 in  Los Angeles. Her father Eddie Garr had been a performer and comedian in vaudeville. Her mother had been a Radio City Music Hall Rockette. Teri Garr spent many of her early years in Lakewood, Ohio. Her father died when she was eleven, after which her family moved frequently. Eventually her mother worked in the costume department at NBC.

Teri Garr studied ballet. It was after she graduated from North Hollywood High School that she got a part in a road production of West Side Story. She studied acting at the Actors Studio in New York City, where she first met Jack Nicholson.

Teri Garr began her career primarily as a dancer. She was one of the dancers on Shindig! and also danced on its rival show Hullabaloo. She was also a dancer in the Elvis Presley movies Kissin' Cousins (1964), Viva Las Vegas (1964), Girl Happy (1965), and Clambake (1967). In the Sixties Miss Garr appeared as dancer or in bit parts in such movies as Fun in Acapulco (1963), What a Way to Go! (1964), Pajama Party (1964), T.A.M.I. (1964), Red Line 7000 (1965), and The Cool Ones (1967). She had a brief but very noticeable role in The Monkees' movie Head (1968). She appeared in the movies Changes (1969) and The Moonshine War (1970). On television she guest starred on Mr. Novak, Dr. Kildare, Where the Action Is, Batman, That Girl, The Andy Griffith Show, Mayberry R.F.D., Room 222, It Takes a Thief, and McCloud. Her guest appearance on Star Trek, "Assignment Earth," was a backdoor pilot for TV series that did not sell.

In the Seventies Teri Garr had regular or recurring roles on the television shows The Sonny and Cher Comedy Hour, The Ken Berry "Wow" Show, The Girl with Something Extra, and McCloud. she guest starred on the shows Banyon, The New Dick Van Dyke Show, The Bob Newhart Show, M*A*S*H, The Odd Couple, Barnaby Jones,. Paul Sands in Friends and Lovers, Cher. Maude, Hunter, and Saturday Night Live. She appeared in the movies The Conversation (1974), Young Frankenstein (1974), Won Ton Ton, the Dog Who Saved Hollywood (1976), Oh, God! (1977), Close Encounters of the Third Kind (1977), Mr. Mike's Mondo Video (1979), The Black Stallion (1979) and Witches Brew (1980).

In the Eighties Teri Garr appeared in the movies Honky Tonk Freeway (1981), One from the Heart (1982), The Escape Artist (1982), Tootsie (1982), The Sting II (1983), The Black Stallion Returns (1983), Mr. Mom (1983), Firstborn (1984), After Hours (1985), Miracles (1986), Full Moon in Blue Water (1988), Out Cold (1989), Let It Ride (1989), Short Time (1990), and Waiting for the Light. She guest starred on the shows Faerie Tale Theatre, The New Show. Trying Times, Sesame Street, and      Mother Goose Rock 'n' Rhyme. In 1985 she starred in a retro music video for The Zombies' song "She's Not There."

In the Nineties Teri Garr starred on the short-lived sitcom Good & Evil. She also had a recurring role on the shows Adventures in Wonderland, Good Advice, and Women of the House. She was the voice of Mary McGinnis  on the animated series Batman Beyond. She guest starred on the shows Tales from the Crypt, Futures, Dreams On, Murphy Brown, The Larry Sanders Show, Frasier, Men Behaving Badly, Sabrina the Teenage Witch. Friends, ER, and I've Got a Secret. She was a guest voice on the animated shows The Legend of Prince Valiant; Duckman; Dr. Katz, Professional Therapist; and King of the Hill. She appeared in the movies The Player (1992), Mom and Dad Save the World (1992), Dumb and Dumber (1994), Prêt-à-Porter (1994), Perfect Alibi (1995), Michael (1996), Changing Habits (1997), A Simple Wish (1997), No Money Down (1997), Casper Meets Wendy (1998), Kill the Man (1999), Dick (1999), and The Sky is Falling (2000). She reprised her role as the voice of Mary McGinnis in the animated movie Batman Beyond: Return of the Joker (2000).

In the Naughts Miss Garr appeared in the movies Ghost World (2001), Life Without Dick (2002), A Taste of Jupiter (2005), Unaccompanied Minors (2006), Expired (2007), and Kabluey (2007). She guest starred on Felicity, Strong Medicine, Mad TV, Life with Bonnie, Greetings from Tucson, Law & Order: Special Victims Unit, and Crumbs.

I have adored Teri Garr since childhood. And when I was growing up she seemed to be everywhere. I remember her from reruns of the Star Trek episode "Assignment Earth," The Sonny and Cher Comedy Hour, and movies such as Young Frankenstein and Oh, God!. I am certainly not alone in adoring Teri Garr, as she was a beloved actress. There was an approachability about Teri Garr, a warmth about her, that naturally drew people to her.

Of course, she was also an extremely talented actress, particularly when it came to comedy. When it came to movie roles, she may be best remembered as Inga in Young Frankenstein. Inga was played as  a sex symbol although it was obvious Miss Garr was in on the joke. And while she may be best remembered as Inga, Teri Garr played many other roles that were different. She did an Oscar nominated turn as the anxious, high-strung actress Sandy in Tootsie, who has a severe case of imposter syndrome. In Mr. Mom she played Caroline Butler, who returns to the advertising industry after years of being a housewife and mother. In Witches Brew she played the wife of a professor who just happens to practise witchcraft. Teri Garr was an immensely talented actress who was always noticeable, whether in small roles such as in Head or larger role such as One from the Heart.

Happy Halloween 2024

Every year for Halloween I post vintage, holiday themed pinups, as I realize that there are those who appreciate some cheesecake along with their treats. Without further ado, here are this year's pinups.

First up is Lona Andre, who is relaxing her with her jack o' lantern.

A bevy of starlets relaxing in the hay: Barbara Britton, Ella Neal, Eva Gabor, and Kathleen Booth.

Ellen Drew is also relaxing in the hay, along with jack o' lanterns and masks.

Anne Neyland is flying on her broomstick.

And finally we have Ann Miller in colour!

Happy Halloween!

Some More Vintage Halloween Candy Ads

Today has been a busy day, so in lieu of writing a fuller post, I would leave you with a few vintage Halloween themed ads for candy. As it is, posts on vintage Halloween ads have become a bit of a custom here at A Shroud of Thoughts, as I seem to do one most years. Vintage ads for candy are particularly fitting for Halloween. The first reference to trick-or-treating is from 1927 in Canada. The custom would spread for Canada into the United States, so that by the post-war  years it was well-established in the United States. As would be expected, candy manufacturers would capitalize on the custom of trick-or-treating with Halloween-themed ads.

Below are a few Halloween candy ads.

An ad for Neco Wafers from 1951.

An ad for Baby Ruth and Butterfinger from 1960



An ad for Brach's from 1952

A Pez ad from 1959

A Tootsie Roll ad from 1954.

A Wrigley's Spearmint Gum ad from 1960.

"Catspaw," the Star Trek Halloween Episode

While references have been made to Christmas throughout the Star Trek franchise, in the franchise's entire history there has only been one episode devoted to a holiday. What is more, that holiday was not Christmas. That episode was "Catspaw" by Robert Bloch, which first aired on NBC on October 27 1967. While "Catspaw" is not set on Halloween, the episode references the custom of trick-or-treating (which apparently survived into the 23rd Century). Furthermore, the theme and the atmosphere of "Catspaw" befits the holiday of Halloween.

In "Catspaw" the U.S.S. Enterprise visits the planet of Pyrus VII. After one crewman returns to the Enterprise dead and Scotty and Sulu have gone missing, Captain Kirk, Mr. Spock, and Dr. McCoy transport down to the planet only to find things straight out of a 20th Century horror movie: a spooky castle, witches, and a wizard with his black cat. Of course, Kirk, Spock, and McCoy realize that all is not how it seems.

By the mid-Sixties, Robert Bloch was already famous in the fields of fantasy, horror, and science fiction. He had begun his career writing stories for such classic pulp magazines as Weird Tales, Amazing Stories, and Fantastic. He wrote the novel Psycho, which was adapted as the classic film of the same name by Alfred Hitchcock. By the time he wrote for Star Trek, Mr. Bloch had already written a good deal for television, including episodes of Lock Up, Whispering Smith, Buys Stop, and The Eleventh Hour. He wrote several episodes of Thriller and Alfred Hitchcock Presents, both of which adapted his short stories. He had also written the screenplays for such films as Strait-Jacket (1964), The Night Walker (1964), and The Skull (1965).

"Catspaw" came about after Robert Bloch was approached by D.C. Fontana, who was then the story editor for a new show called Star Trek, about writing for the series. The first episode he wrote for the show was "What Are Little Girls Made Of," which aired in the first season. "Catspaw" would be the second episode of Robert Bloch's episodes for Star Trek (the third would be "Wolf in the Fold"). "Catspaw" was loosely based on an earlier short story that Robert Bloch had written, "Broomstick Ride," published in Super-Science Fiction, Vol. 2 No. 1 (December 1957). In "Broomstick Ride," an expedition is sent to explore the planet Pyris, which apparently has an Earth-like atmosphere. Once there the expedition encounters a society with Dark Age technology, witches riding broomsticks known as wrali, and a firm belief on the part of the wrali that Satan had brought from Earth to Pyrus. For those who want to read "Broomstick Ride," that particular issue of Super-Scence Fiction is available at the Internet Archive.

As to the title, "Catspaw," it is taken from the idiom "cat's paw," which means someone who is the dupe of another. "Cat's paw" is taken from the fable "The Monkey and the Cat" by Jean de La Fontaine. In the story, the monkey Bertrand convinces the cat Raton to get roasting chestnuts from amongst the embers of a fire. Quite naturally, as he pulls each chestnut out, Raton burns his paw. Bertrand and Raton are interrupted by the maid, so that in the end poor Raton gets no chestnuts despite having burned his paw.

Like many Star Trek episodes, "Catspaw" took some time to develop. Robert Bloch submitted his initial story outline on March 9 1967. The story outline was revised on March 14 1967. The first draft of the teleplay was submitted on March 29 1967. The second draft would be submitted on April 14 1967. The third draft, which involved uncredited work by D.C. Fontana, was submitted on April 24 1967. Star Trek creator Gene Roddenberry revised the final draft, so that it was completed on April 27 1967. Producer Gene L. Coon would make additional page revisions on May 4, May 5, and May 10 1967.

"Catspaw" began shooting on Tuesday, May 2 1967. It was the first episode of the second season to be filmed and the first to feature Walter Koenig as Lt. Chekov. It would also be the first episode produced to feature DeForest Kelley's name in the opening credits. While "Catspaw" was the first episode of the second season of Star Trek to be filmed, it would be the seventh episode of the second season to air, making its debut on October 27 1967. The reason "Catspaw" was delayed was quite simple. It was planned from the beginning for the airing of "Catspaw" to coincide with Halloween.

While "Catspaw" is not set at Halloween, the episode is most certainly fitting for the holiday Towards the beginning of the episode, a dead crewman issues a warning to the Enterprise to leave the planet in an eerie voice. When Kirk, Spock, and McCoy beam down to Pyris VII, they encounter apparitions of witches straight out of Macbeth. The castle's dungeon in the episode is dark and comes complete with a skeleton. The atmosphere of "Catspaw" would certainly make any viewer think of Halloween, and the atmosphere of Pyris II reminds Kirk and McCoy of the holiday as well. At one point, McCoy comments, "Three witches...what appears a castle, and a black cat," to which Kirk replies, "If we weren't missing two officers and a third one dead, I'd say someone was playing an elaborate trick-or-treat on us." The custom of trick-or-treating is referenced twice more in the episode.

As mentioned above, Star Trek never did another holiday episode nor have any of its spinoffs included a holiday episode. "Catspaw" then remains both the only Halloween episode and the only holiday episode of any Star Trek series. It is fortunate that it also happens to be a well-done and suitably creepy episode, perfect for Halloween viewing.

The Bonfires of Halloween

The bonfire in Meet Me in St. Louis (1944)

The Halloween sequence in the classic movie Meet Me in St. Louis (1944) remains for many the most memorable sequence in the movie. Among other things, the neighbourhood kids build a bonfire in the middle of Kensington Avenue. The Halloween sequence in Meet Me in St. Louis was based on the vignette "October 1903," one of a series of semi-autobiographical vignettes by Sally Benson published in The New Yorker from June 14 1941 to May 1943. While building bonfires on Halloween is no longer as common as it once was, the tradition goes back many years.

For those familiar with the history of holidays in Northern Europe, the building of bonfires on Halloween should not seem that unusual. The Third Council of Constantinople in 680 CE attempted to ban bonfires, "Those fires that are kindled by certain people on new moons before their shops and houses, over which also they use ridiculously and foolishly to leap, by a certain ancient custom...." Despite this, the lighting of bonfires on certain holidays would persist. Among King Henry VII's expenses listed for one Midsummer's Eve was for making bonfires.

It should then come as no surprise that bonfires were built for Halloween in Scotland, the country from which much of the United States and Canada's Halloween customs come. In  1772 Welsh naturalist and antiquarian Thomas Pennant wrote of the people of the Maylin, near Pitlochry in Scotland, "Hallow Eve is also kept sacred; as soon as it is dark, a person sets fire to a bush of broom fastened round a pole, and, attended with a crowd, runs about the village. He then flings it down, heaps great quantity of combustible matters on it, and makes a great bonfire.”

The custom of building bonfires on Halloween would be brought to Canada and the United States by Scottish settlers. The November 1 1864 issue of The Kingston Daily News from Kingston, Ontario states in their article, "Keeping Up Hallowe'en," "Bonfires were lit in several streets...." The custom of Halloween bonfires was known in the United States as well, even if at times it was discouraged. In the 1890 issue of The Minneapolis Star Tribune, bonfires are mentioned among the mischief performed in the night, "...to say nothing of an occasional bonfire worked on the sly, while the precinct patrolman is at the other end of his beat."

While Halloween bonfires were strongly discouraged in many cities, in other municipalities they became part of the official celebration of Halloween. The December 29 1920 issue of The Great Falls Leader out of Montana has a story on how tumbleweed burning will be held on October 30 of the following year as part of the close of Great Falls' Clean-up Week. The October 20 1930 issue of The Los Angeles Illustrated Daily News features a short article that reads, "FUEL TO FIRES! Halloween bonfires on city playgrounds and in community house fireplaces will burn brighter this year for a gift of several hundred railroad ties donated by Los Angeles Railway corporation."The October 30 1957 issue of The Enterprise-Record from Chico, California featured the headline, "Halloween Bonfire Slated for Ridge Tomorrow Evening." The Paradise Recreation District had a bonfire planned for the evening of October 31 1957

While the burning of bonfires would decline in the latter half of the 20th Century, the practice has not totally died out in the United States. As recently as October 12 2021, The Greenville Daily Advocate in Ohio mentioned a Halloween bonfire party to be held by Darke County SafeHaven in Piqua, Ohio. The origin of the custom of bonfires on Halloween is shrouded in mystery. Some would trace it back to the Celtic pagan festival known as Saimhainnin Scottish Gaelic, Samhain in Modern Irish, and Sauin in Manx. Some might give other explanations for the Halloween tradition. Regardless, while it might not be as common as it once was, it would seem that people will be burning bonfires on Halloween for many years to come.

"Halloween" from My Blue Heaven (1950)

A number of classic Christmas songs originated in the movie musicals of the Golden Age of Hollywood, from "White Christmas" in Holiday Inn (1942) to "Silver Bells" in The Lemon Drop Kid (1951). This was certainly not the case with Halloween. While Irving Berlin wrote a song for nearly every other holiday, he totally ignored Halloween in Holiday Inn. And while Meet Me in St. Louis (1944) is known for its beloved Halloween sequence, nowhere is there a song about the holiday in the movie. One musical that did not snub Halloween was My Blue Heaven (1950), which features a song about Halloween titled, well, "Halloween."

My Blue Heaven (1950) starred Betty Grable and Dan Dailey as Kitty and Jack Moran, a married couple who are stars of their own radio show. And like many radio show stars of the time the Morans want to make the transition to television. It is then early in the movie that Kitty and Jack visit their friends, Janet and Walter Pringle (Jane Wyatt and David Wayne) on their farm to talk them into writing material for their new TV show. As it turns out, their arrival corresponds with Halloween so the Pringles' children are dressed in their costumes. That night, Kitty, Jack, and Walter, accompanied by Janet on the piano, perform the song "Halloween" for kids.

"Halloween" was written by composer Harold Arlen and lyricist Ralph Blane who wrote every other song in the movie except for the title tune ("My Blue Heaven" was written by Walter Donaldson and George A. Whiting, and dates to 1927). What makes "Halloween" amusing is that it starts out by ribbing Irving Berlin for never having written a song about the holiday of "Halloween." Both Harold Arlen and Ralph Blane had remarkable careers. Harold Arlen composed the music for the songs "Lydia the Tattooed Lady" and "Over the Rainbow" with lyricist E. Y. Harburg and "Stormy Weather" with Ted Koehler. For much of his career  Ralph Blane was partnered with Hugh Martin, and together they wrote "The Boy Next Door," "The Trolley Song," and "Have Yourself a Merry Little Christmas" for Meet Me in St. Louis (1944).

For those of you in the mood for a Halloween song from a classic Hollywood musical, there is "Halloween."

Halloween Newspaper Ads from the Sixties

For much of the 20th Century, several dime stores department stores, and discount stores could be found in towns across the United States. Some of these stores belonged to national chains, such as Woolworth or McCrory, while others belonged to smaller regional chains or were locally owned. One thing that they all had in common is that they often took ads in the local newspapers. This was particularly true when a holiday was approaching, such as Halloween. Below are a few Halloween ads for stores in Missouri from the Sixties.

This is an ad for Kresge's from the October 18 1961 issue of The Sedalia Democrat. I don't remember Kresge's, as we never had a store in our county, but they were a fairly well-known, large national chain of variety stores. It was in 1962 that the S.S. Kresge Company opened the first Kmart, one of the first discount stores. Over time, like other dime stores, the Kresge's stores disappeared from the landscape. As to the S.S. Kresge Company, it became K Mart Corporation in 1977.

This is an ad for TG&Y from the October 28 1962 issue of the Moberly Monitor-Index. TG&Y was a large chain of variety stores in the United States. At its height it had over 900 stores in 29 states.

An ad for Woolworth from the October 23 1966 issue of the  Jefferson City's Sunday News and Tribune. Woolworth is still fairly well known, even if the last Woolworth store in the Untied States closed years ago. This ad being from 1966, quite naturally the ad features Superman, Batman (whose hit TV show was in its second season), and The Green Hornet (then appearing in his own TV show).

This is an ad for Ben Franklin from the October 25 1967 issue of the Moberly Monitor-Index. Unlike some of the other stores mentioned in this post, Ben Franklin is still in operation, even if it is not as big as it once was. The Ben Franklin chain was founded in 1927 by the mail-order company Butler Brothers. At its peak in 1959, there were over 2500 stores across the United States. Over time Ben Franklin would evolve from the old variety stores into craft shops, some of which survive to this day.

This ad for the Gibson's Discount Centre is from the October 23 1968 issue of the Chillicothe, Constitution-Tribune. Gibson's Discount Center was a large chain of stores that originated in Abilene, Texas. By 1968 there were 438 stores located in several states (including Missouri). Over time the chain would decline, and it would be closed by 2002. Apparently there are still some old Gibson's stores, now independents, that still use the name.

This is an ad for Mattingly's from the October 22 1970 issue of the Mexico Ledger. Chances are good that if you are not from Missouri you might never have heard of Mattingly's--there seems to be next to nothing online about the chain of dime stores online--but at one time there were several Mattingly's stores across the state. The very first Mattingly's store opened in Odessa, Missouri in April 1914. By 1937 it had already grown into a small chain. By the early Seventies there were 56 Mattingly stores across Missouri. It was at this time that Mattingly Brothers Stores Company began opening family variety centers under the name Mactco. Unfortunately, over time Mattingly's would go into decline. It was in 1986 that the remaining Mattingly and Matco stores were acquited by PM Place Stores, a chain based out of Bethany, Missouri. PM Place Stores itself would be acquired by  ShopKo Stores Inc. in 2000.