Category Archives: 1970s
Finally my local Shop-Rite has decided to stock Quisp cereal. This is kinda cool, rather than drive a couple miles away to the Acme, or ordering through the mail, we can get Quisp almost any time we want. For a long time, that wasn’t really possible. Quisp was among the missing.
Quisp was my favorite cereal when I was a kid way way back when. Way before Frosted Flakes and Rice Krispies, I loved me some Quisp. The cereal was what I would munch while watching the Saturday morning cartoons and beg for in the supermarket because it had a toy inside. I have a distinct memory of my big sister building the toy flying saucer from inside the box. That’s right, a toy so complex it had to be put together. She even attached a thread to it so it would appear to fly on its own.
Yeah, we’re talking about real cereal, it’s even made mostly of corn and sugar, in the shape of little flying saucers. It even took its name from the little alien who was the cereal’s mascot, who was featured in a series of animated commercials during Saturday mornings, by Jay Ward, who also did “Rocky and Bullwinkle.” Can you get more retro than that?
On Saturday mornings back in the day, the commercials were a little longer, not thirty-second buy-me blasts, but sometimes multi-minute-to-be-continued-on-a-later-break stories. The ads for the original G.I. Joe Adventure Team were like that, and so were the adventures of Quisp and Quake.
While Quisp was a little alien dude, Quake, his default friend and active rival was a big burly miner (later a superhero-like swashbuckler), and they would argue, fight, and compete over whose cereal was better. Ironically, they tasted the same, but had different shapes, Quisp in the shape of tiny bowl-like flying saucers, and Quake was, I think, big rock-shaped cereal. I really couldn’t say, I always got Quisp.
I remember vividly in 1972 when an election took place where you could vote for your favorite of the two cereals. A nation of kids, wrapped up in the same type of election fever that gripped their adult counterparts, voted for Quisp as the chosen one. Quake won. As his punishment, besides dealing with Quisp’s gloating, Quake became the sidekick to Simon the Quangeroo, who got his own cereal, albeit an orange flavored version.
When another election, one I don’t actually recall, was held in 1976, Quisp won again and Quangeroos were vanquished, ahem, I mean discontinued. The ironic thing is shortly thereafter, all three cereals seemed to vanish from not only television screens, but also store shelves.
Quisp returned in the 1980s briefly and then again in the 1990s as available online only, before coming to select stores. I’m glad it’s now available closer to home, and I’m sure we’ll be getting it more often.
A big chunk of my comics childhood has passed away. Nick Cardy, born Nicolas Viscardi, was perhaps the first influential artist on Aquaman and Teen Titans, but most importantly, he illustrated almost every DC Comics cover in the early 1970s. To me, Nick Cardy’s versions of the DC superheroes were the definitive versions, as those were the ones I saw all throughout my childhood, and even on the covers of books I didn’t read. And he was damn good. Nick Cardy passed away this weekend.
Here is the official press release from DC Comics:
“We are saddened to learn of the passing of Nick Cardy, one of the industry’s greatest artists. A talented draftsman with a knack for layout and energetic cover design, Cardy’s art leapt off the page and helped redefine some of DC Comics’ most lasting characters for a new age.
“Like many early comic pros, Cardy began his career working under the tutelage of the legendary Will Eisner, as part of the Eisner and Iger studio. But it was his arrival at DC Comics in 1950 that saw the artist begin to show signs of the legend that would soon form around him.
“Cardy’s smooth line and dynamic sense of action graced the first appearance of the Teen Titans in THE BRAVE AND THE BOLD #60, not to mention almost 40 issues of AQUAMAN during the character’s initial Silver Age solo series.
“Cardy continued his relationship with DC’s teen team for the entirety of TEEN TITANS 43-issue Silver Age run, redefining the collection of sidekicks through his innovative and yet still classical brushstroke, with a dash of post-modernist design and 60s swagger.
“Cardy was inducted into the Will Eisner Hall of Fame in 2005.
“We’ve lost one of the artistic pillars here at DC,” said Diane Nelson, President of DC Entertainment. “Nick’s work on Aquaman, Teen Titans and beyond helped define how we look at these characters today. Our thoughts go out to his family, friends and many fans.”
“Nick Cardy was a wonderful artist and person, but I’ll always remember his amazing covers,” said Dan DiDio, DC Entertainment Co-Publisher. “From the classic “Is This My Foe?” AQUAMAN #42 image that featured a victorious Black Manta hoisting Aquaman above him to the first appearance of the Teen Titans, Cardy just knew how to get a reader’s attention – and that is a talent that can never be understated. He was my definitive DC cover artist for the 60s.”
“Nick Cardy’s work helped define some of the things we see in comics today and take for granted,” said Jim Lee, DC Entertainment Co-Publisher. “He broke out of the mold in terms of covers and layout and created a truly interactive experience for the reader that directly points back to his time with the Eisner studio. His versions of Aquaman, the Teen Titans and Bat Lash – to name a few – remain iconic today. Our sympathies go out to his family during this difficult time.”
When I think of the Teen Titans, I think not of Marv Wolfman and George Perez’ wonderful New Teen Titans, I think of Nick Cardy’s Titans. The heroes of the comic my big sister read, on which I learned to read, the ones that even taught me about Shakespeare, and slavery, and the Civil War, and the civil rights movement. We have lost a comics legend, and I have lost a piece of my childhood.
To see a few more of Nick Cardy’s covers, check out my Tumblr here.
The Great Gatsby ~ Every time I think of this Baz Luhrman flick, I can’t help thinking about the “Entourage” fictional version Gatsby. Maybe if I keep thinking that, I can also manifest another fake movie from the show, Aquaman, ’cause that one I really want to see.
At first, I wasn’t so sure I wanted to see this new version of Gatsby. I remember vaguely reading it as a teenager, and then being made to read it in college. I remember watching a TV version as an ABC movie of the week back in the seventies and being bored to tears.
The Great Gatsby is a lot of tell vs. show, along with subtext and metaphor that if you don’t get, your English teacher or professor will have a seizure. It’s also full of unlikable characters. It serves its purpose, like say Catcher in the Rye, don’t get me wrong, but that doesn’t mean I have to like it.
Then there’s the problem of the director. Baz Luhrman, for me, is a creator of extremes. I think his Romeo + Juliet is a work of brilliance, yet his critically acclaimed Moulin Rouge! revels in the mud of my bottom five. I hated it. And because of it, I approach any further Luhrman work with contempt, derision, and caution. The Great Gatsby, seemingly in a similar vein to those two previously mentioned films, is definitely no exception.
I did not hate this version of Gatsby, but I didn’t love it either. It falls somewhere around my impression of the 1970s one, less than impressed, and bored. The leads are strong and perfect had this been in hands of any other director. Luhrman resorts to camera tricks, fast motion, modern music, and even 3-D trickery, and all any of it does is sour and dilute the classic story. Don’t waste your time, unless you’re a fan or morbidly curious.
I am reading “The Shining” again for the first time in thirty-five, thirty-six years. Amazing how far author Stephen King has come, and so odd to see simple wording and point of view errors he would never make today. It is also something to marvel to read a simpler King, but also what may be a more sinister King.
Back in 1977, I started reading the big hardcover version of “The Shining” first, which my mom had borrowed from my book enabling big sister. It seemed like a historical romance from that cover, almost giving off a “Dallas,” “Dynasty” or sweeping John Michener vibe. There was the big hotel on the front (and back) cover looking almost similar to Tara from Gone with the Wind, painted images of the man, the woman, and the child, and the hedge animals. My sister needed her copy back, so then I bought the paperback at the local grocery store. That was a gray book with a blank boy’s face on it, and that’s the copy I still have today.
I remember plowing through it rather quickly, on the front porch swing during the days, and in bed before sleep, which defiantly came. This was King’s third book, chronologically at least, and I’m pretty sure I knew he was something special even then, that he was subversively teaching me writing skills and techniques. All that and he was a joy to read.
And what attracted me most of all, was that he wrote about writers. There’s the interviewer in “Carrie,” Ben Mears in “‘Salem’s Lot,” and now Jack Torrence. I could relate, and now I was hooked for a lifetime. Both my own and King’s, as writers would continue as protagonists and even antagonists for dozens of novels to follow, notably the nebulously aligned Harold Lauder in my favorite King novel, “The Stand.”
The young Stephen King plays fast and loose with perspective and point of view I’ve noticed. As an editor (and yes, I know how presumptuous this is), there are more than a few things I would have corrected in the book regarding POV. Let’s just say, he did get better. Much better, or at least as good as one of the best selling novelists of our era can be.
Young Danny’s perspective and understanding of things is a puzzle of complexity. Does he know and understand because of his psychic abilities? Or does he for the sake of storytelling? King walks a very fine line here, most times opting for the latter, and weaving a tighter more terrifying tale for the reader.
There is one difference I noticed in my Nook copy of “The Shining” however. The word REDRUM written in a graphic in my original paperback copy of the book, but not in my Nook copy. It was missed. Back in the day, tricks like that, raised and/or cut out covers, or the multiplying flies above chapters in “The Amityville Horror,” made books in the late 1970s a little bit more special.
There is also the matter of Jack Torrence’s alcoholism. At the time “The Shining” was released the public was unaware of King’s own struggles with old devil drink. This fact in retrospect lends a frightening realism to what was already horrific in the book. We knew King was a teacher, spent time in Colorado, but now, we can’t help but wonder… was he abusive as well? Dare I ask – did he harm his wife and family? Just how autobiographical is “The Shining”?
King has always made the distinction with Stanley Kubrick ‘s film version, that he had written a book about a haunted house, but the director made a movie about domestic violence. What if he protest-eth too much? What if King insisted on that because Kubrick hit too close to home? My intent is not to make accusations, mind you, but to report the extra dimension facts about the author’s life bring to the work. It certainly made some of it uncomfortable to read.
The sequel to “The Shining” has been a rumor that has floated around for years. It became just a little bit more real when Kung finally gave it a name, “Doctor Sleep.” When he wrote it and announced a release date, then things got hot. “Doctor Sleep” is scheduled for release today, and there’s also a preview at the end of my Nook copy of “The Shining” as well.
“Bop ‘Til You Drop” by Rick Springfield
There was a time when Rick Springfield was cool, we may all want desperately to want to forget it, but it’s true. Memory is a tricky thing. We may want to remember Rick Springfield as bubble gum pop, but there was a time he was considered not only rock, but even a little tiny bit new wave. I heard “Jessie’s Girl” for the first time on WMMR, and follow-ups “Affair of the Heart,” and the two videos featured here, all on WYSP during their new music hour.
The truth is that he had been around a long time before his ‘overnight success,’ was a minor pop idol and even had his own Saturday morning cartoon in the 1970s. And after, he was the original “Forever Knight,” the original “Human Target,” and released what I think his best album, Tao.
I fully agree with my online friend DJ Marilyn Thomas, “Bop ‘Til You Drop” is a New Wave song, no matter what you say, you selective memory music heathens.
And then there’s this one…
“Human Touch” by Rick Springfield
Rocker trying desperately to be new wave in a music video, trying to capitalize on the odd music video fashions of the time, pretending it’s the future, and looking uncomfortable the whole time – check. For a long time, this was what music videos looked like. At least it’s not…
“You Got Lucky” by Tom Petty and the Heartbreakers
Wow, the future looked kinda bleak in the early 1980s…
Hobo with a Shotgun ~ Yeah, so I finally saw this. The number of times this film has been recommended to me by friends whose opinions I respect, and even those I don’t, is countless. Many of those friends have even nagged me with occasional “Did you see it yet?” inquiries.
The title revealing subject matter and the way sometimes I was recommended or asked about the flick has made me wonder about the sincerity of these friends. Ya know how someone will take a bite of something terrible, and then, not wanting to be the only one who is suffering, will offer you a taste? Yeah, that’s the vibe I have gotten in the past from Hobo with a Shotgun.
Right off the top, I have to give props to the director Jason Eisener and the cinematographer Karim Hussain. The color of this flick is insanely vibrant, no doubt a thematic choice to cash in on the 1970s action exploitation vibe that drives the picture. Even the movie poster reflects that homage, sans the Technicolor of course.
Based on the originally fake trailer from Rodriquez and Tarantino’s Grindhouse, the movie delivers its particular brand of hyperviolence almost from the start. Rutger Hauer is the hobo in question, and runs afoul of The Drake, the warlord who rules Hope Town. yeah, that’s the name, or in light of events and graffiti, it’s now called Scum Town.
Hauer is good here, playing apathetic at first and more than a little crazy, much better than his recent turn in “True Blood” as a subtly and hilariously similar character type. Actually had Sookie’s gramps been more like the hobo, it might have saved this season. When a shotgun eventually makes it into the hobo’s hands, he decides to become a crazed force for good, battling the bad guys and inspiring the frightened townspeople.
Trust me, this hyperviolent tale of good vs. evil set in a hellish Technicolor suburban wasteland sounds much better than it actually is but its misshapen heart is in the right place. Hauer watches and reacts for the most part, but for the rest of the cast it’s an over the top acting massacre that would make Lloyd Kaufman of Troma positively jealous.
Speaking of which, if you love Troma Films, you will love Hobo with a Shotgun. On the other hand, if you don’t, this movie is not for you. And neither is it for the squeamish. Either way, the color is fabulous. And maybe Robert Downey Jr. can fight The Plague in Iron Man 4…
The Man with the Iron Fists ~ This film is a mad alternate universe martial arts adventure written by RZA and Eli Roth, an insane love letter to the Shaw Brothers movies of the 1970s. With the backing and support of Quentin Tarantino, a decent budget, an awesome cast, and even cooler soundtrack, the film succeeds on all points of professing its love, providing proper homage, and entertaining the hell out of viewers.
The flick is high camp adventure at its best, and great actors like Russell Crowe and Lucy Liu roll with it with skill. RZA plays the title role, an American emancipated blacksmith who becomes embroiled in this bloody cartoonish tale of greed, revenge, and warring clans, all set to frenetic hip hop soundtrack.
This is pure Shaw Brothers with a big budget and better music, imagine Crouching Tiger without the grace and slow parts but mixed with a bizarre steampunk UFC sensibility and you’ve got the vibe. It even turns almost superhero-ish toward the end.
The red band trailer below is NOT family or work safe. You’ve been warned.
I dug this flick a lot, but found myself a bit bored waiting for the next fight with outrageous opponents to occur. It suffers in these places, but the battles more than make up for it. Recommended for those who grew up with Saturday afternoon martial arts flicks, and loved them despite the silliness and the effects, The Man with the Iron Fists is for you.
Earlier today I found out that actress Karen Black had passed away via a Tweet from my good friend Andy Burns, also editor-in-chief of Biff Bam Pop!. Another Tweeter’s response was that he had no words. That’s how I feel. We’ve lost one of the good ones, a legend of the genre. Karen Black died yesterday in Los Angeles from ampullary cancer at the age of 74.
When I said genre, I am of course talking about the horror genre. Karen Black probably most remembered film is one where she played a tour de force of four characters in Dan Curtis’ TV movie of the week Trilogy of Terror. It was at the aforementioned Andy Burns’ website, Biff Bam Pop!, that I talked about how that film still scares the crap outta me. You can read that here.
While it’s true she made her share of horror films, notably Trilogy, and Rob Zombie’s House of 1000 Corpses among others, it’s a fact she never stopped making movies. But of all the films Ms. Black has made, it is the movies of the 1970s that defne her. Hell, one could even say that Karen Black defined film in the 1970s. She changed the way women and sexuality were portrayed on the big screen.
Among her films are some of the best or at least most memorable of the decade, including Easy Rider, Five Easy Pieces, The Great Gatsby, Capricorn One, In Praise of Older Women, Hitchcock’s last movie Family Plot, and Robert Altman’s Nashville. She also starred on stage and on television as well as film. She was a composer, screenwriter, producer, and author of children’s books.
I met her once a few years back, at a Chiller convention near the Meadowlands. We were about to leave and I saw this seemingly crazy woman screaming at people to get her something or other. The men surrounding her scrambled. I realized it was Karen Black. She was holding court in the lobby of the hotel.
I was either brave or stupid, so I approached her and told her she was great in Easy Rider and Nashville, and that I loved her in Trilogy, even though she scared me to death in it. She was kind, and soft spoken, and thanked me, even shook my hand. Moments later she was barking at underlings again, but to me, and other fans who approached her she was an angel.
That’s how I will remember Karen Black – a kind loving woman who adored her fans. Not the psychopath possessed by a Zuni fetish doll. And that’s probably for the best. We’ve lost one of Hollywood’s great actresses, and she will be missed.
This has happened before. Even though I lived through the New Wave era, the 1980s give or take, there are still songs that eluded me. This is another.
I knew the name Robyn Hitchcock, and I had seen it dozens upon dozens of times flipping through albums while shopping or browsing (or filing albums when I worked in a record store). But oddly enough, I don’t actually recall ever hearing any of his music. At least not when it was current.
“Balloon Man” by Robyn Hitchcock and the Egyptians