Monthly Archives: May 2008
The early anime series that began in Japan as Science Ninja Team Gatchaman (1972-74) aired in the U.S. in two very different versions. For Battle of the Planets (syndication, 1978), much of the violence was excised and the R2-D2-esque robot 7-Zark-7 was added; G-Force (Turner Broadcasting, 1986) was darker in tone and closer to the original Gatchaman. All three series focus on the adventures of five teenagers in bird suits. In Battle they tackle the evil Spectra in “outer space,” although the backgrounds are clearly Earth, where G-Force and Gatchaman are set. Episode 3 illustrates the difference between the series: In Battle, when a whiny little boy gets in the way of a giant mummy attacking an airport, the evil Zoltar warns him away; in Gatchaman, villainous Berg Katse tells the mummy to step on the child. Unrated; suitable for ages 10 up.
From Tatsunoko Productions, the award-winning Japanese animation team that created Speed Racer. Attack of the Space Terrapin – Center Neptune, a world defense base, lies off the West Coast, 900 fathoms beneath the surface of the ocean. There, the precious Vitaluman is mined, an amazing one that renews the depleted soil of Earth and the other planets, and without which, all life would cease to exist. Guarding the base against attack is the invincible, transmutable G-Force: Keyop, Jason, Princess, Tiny, Mark and 7-Zark-7, their robotic protector. When Zark’s scanners pick up a radio-controlled attack monster from Spectra heading for one of the Vitaluman vaults, he’s baffled. Why would anyone want to steel something that’s been given away free? The answer, of course, is Zoltar, who wants to control it, and thereby, the universe. And so begins the cataclysmic Battle of the Planets, with the entire galaxy hanging in the balance. Rescue of the Astronauts – Two astronauts find startling evidence of giant alien bases, underwater on Mars. Returning from their top-secret mission, they mysteriously disappear on re-entry. 7-Zard-7 calls in the G-Force. Their assignment: rescue the astronauts and get the taped evidence. Only problem, the astronauts have been hijacked by the aliens who don’t want anyone to know about their bases, and Zoltar is their leader! G-Force locates their huge underwater headquarters and Mark transmutes into a diver to gain access. Zoltar’s aliens attack with drill-like precision, finally ordering Mark to surrender or never see the astronauts again. Now the G-Force Fiery Phoenix is the only thing that stands between Mark and oblivion.
Otis Ray Redding, Jr. (September 9, 1941 – December 10, 1967) was an influential American deep soul singer, probably best known for his posthumous hit single, “(Sittin’ on) the Dock of the Bay.” According to the website of the Rock and Roll Hall of Fame (where he was inducted in 1989), Redding’s name is “synonymous with the term soul, music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying.”
Redding was born in the small town of Dawson, Georgia. At the age of 5, he moved with his family to Macon, Georgia. He sang in the choir of the Vineville Baptist Church, and became somewhat of a local celebrity as a teenager after winning a local Sunday night talent show 15 weeks in a row.
In 1960, Redding began touring the South with Johnny Jenkins and The Pinetoppers, primarily as the group’s driver. That same year he made his first recordings, “She’s All Right” and “Shout Bamalama” with this group under the name “Otis and The Shooters”.
In 1962, Redding made his first real mark in the music business during a Johnny Jenkins session when, during studio time left over, he recorded “These Arms of Mine”, a ballad that he had written. The song became a minor hit on Volt Records, a subsidiary of the renowned Southern soul label Stax, based in Memphis, Tennessee. His manager was a fellow Maconite, Phil Walden (who later founded Capricorn Records). Otis Redding continued to release for Stax/Volt, and built his fan base by extensively touring a live show with support from fellow Stax artists Sam & Dave. Further hits between 1964 and 1966 included “Mr. Pitiful”, “I Can’t Turn You Loose” (which was to become The Blues Brothers entrance theme music), “Try a Little Tenderness” (a remake of the 1930s standard by Harry Woods, Jimmy Campbell, and Reg Connelly , later featured in John Hughes’ film Pretty in Pink), “(I Can’t Get No) Satisfaction” (written by Mick Jagger and Keith Richards of the Rolling Stones), and “Respect” (later a smash hit for Aretha Franklin).
Open Source Info: Wikipedia https://en.wikipedia.org/wiki/Otis_Redding
The Rocky and Bullwinkle Show is the collective name for two separate American television animated series Rocky and His Friends (1959 – 1961) and The Bullwinkle Show (1961 – 1964). Rocky & Bullwinkle enjoyed great popularity during the 1960s. Much of this success was a result of it being targeted towards both children and adults. The zany characters and absurd plots would draw in children, while the clever usage of puns and topical references appealed to the adult demographic. Furthermore, the strengths of the series helped it overcome the fact that it had choppy, limited animation; in fact, some critics described the series as a well-written radio program with pictures.