Posts tagged ‘1977’


Where the internet tends to be wrong on The Love Boat

07.09.2019

There are a few TV shows I get anorak about. Alarm für Cobra 11 is probably the one most people have seen me post about. I probably have some claim over The Persuaders, The Professionals, The Mary Tyler Moore Show and Pointman. But there was one that was a staple for us as a family, that I don’t have any anorak status over, yet I seem to know more than a lot of people who write about such things professionally.
   It’s The Love Boat, where there are a few claims that go round the ’net.
   There are many pages and videos about the ‘original cast’ of The Love Boat, and the names are familiar enough: Gavin MacLeod, Bernie Kopell, Fred Grandy, Ted Lange and Lauren Tewes. Even documentaries on the history of the programme make this claim. But, as many know, this particular combination was the third cast, although Kopell, Grandy and Lange showed up in the second pilot in 1977, with Quinn Redeker as Capt Tom Madison and Diane Stilwell as Sandy, the cruise director.
   The original cast actually saw Division 4’s Ted Hamilton as Capt Thomas Ford, Dick van Patten as Dr O’Neill, Sandy Helberg as Gopher, Theodore Wilson as Isaac, Terri O’Mara as Gerry, the cruise director. Joseph Sicari, as a steward, also appears in the opening title.

   There’s also an internet fiction on a lot of websites that The Love Boat II, the second pilot, had Bernie Kopell play Dr O’Neill, and not Adam Bricker. I’ve no idea where this surfaced, and it also appears on IMDB. Sorry, internet, Bernie Kopell is introduced as ‘Lt Dr Adam Bricker’, the military title with its origins in the back story that Capt Madison, Dr Bricker, Gopher (YN1 Burl Smith) and CPO Isaac Washington all served together on the USS Chadway in the US Navy in Vietnam. In peacetime, they wanted to sail together. Here’s the scene in a Dutch video cassette release, though Bricker is misspelled:

   Hopefully, one of these days, these errors get corrected online. Though based on what I see on Wikipedia, I’m not holding my breath.
   The second cast wasn’t too bad, but most of the stories left something to be desired. The producers (and, for that matter, MacLeod and Tewes) were lucky that ABC commissioned a third pilot, The New Love Boat, and the rest is history.

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Happy 40th birthday to The Professionals

30.12.2017

‘Anarchy, acts of terror, crimes against the public. To combat it I’ve got special men: experts from the army, the police, from every service. These are the professionals.’

   Forty years ago, ITV began airing one of the UK’s most iconic TV series.
   There’s more at Dave Matthews’ The Authorised Guide to the Professionals, to which I contributed many years ago (yes, I am a fan).
   While there are many quality shows today, The Professionals still holds up reasonably well in terms of action, music, lighting and cinematography (especially if you see the series as restored on Network’s latest set of DVDs), though some of the plots are lacking and there are a lot of outdated 1970s’ attitudes to gender equality and race.
   If you keep that in mind—that it is a product of its era—it’s still an enjoyable show, in part because of my own sense of nostalgia (has it really been forty years?). And the second and third seasons are still, in my opinion, Brian Clemens’ finest hour.

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A long time ago (you know the rest)

31.12.2015

Those great, shared cultural experiences. I’m sure some of you remember how ground-breaking it was in 1977 to see this film. Sure, we’d seen the actors in parts before, on TV, in some smaller films, but this one propelled them into greater stardom. The memorable tunes. One of the greatest cinematic antagonists. The fact we actually started using the jargon from the film in our everyday speech.
   Then there was the first sequel in 1980, and the next in 1983, though neither really surpassed the original, even if they cranked up the effects. They made more after that but those don’t even count among true fans.
   Today, the impact is still there. I’m getting all misty-eyed and really need to watch the first one again on DVD.
   I am truly grateful for Smokey and the Bandit.

   On that very tongue-in-cheek note, have a wonderful 2016, everyone!

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Remarks on the typography of Star Wars

16.12.2015

Star Wars is in my feed in a big way. To get up to speed on the film series, I had to start with the memorable theme by John Williams.

Thanks, Bill and Paul.
   And who better to describe the plot than someone else in the science-fiction world, Doctor Who?

   Seriously though, I hope all friends who are big Star Wars fans enjoy Episode VII. It seems to be getting positive reviews, partly because it appeals to our sense of nostalgia. It hasn’t blown anyone away in the same manner as the 1977 original, but then Disney would be very foolhardy to stray for this sequel. If you are building a brand that was at its height 30 years ago, nostalgia isn’t a bad tool—just ask the team that came up with the 1994 Ford Mustang. J. J. Abrams—the creator of Felicity and What about Brian?, plus some other things—has apparently been a genius at getting just enough from the past.
   One item that is from Star Wars’ past is the opening title, or the crawl. I’ll be interested to learn if they’ve managed to re-create the typography of the original: they were unable to provide perfect matches for Episodes I through III because of the changes in technology and cuts of the typefaces that made it into the digital era. The main News Gothic type is far heavier in these later films. ITC Franklin Gothic was used for ‘A long time ago …’ for I to III; this, too, was originally News Gothic, but re-releases have brought all six films into line to use the later graphic.
   However, it could be argued that even between Episodes V and VI there were changes: News Gothic Extra Condensed in caps for the subtitle for The Empire Strikes Back, switching to Univers for Return of the Jedi. (It seems even the most highly ranked fan wiki missed this.) And, of course, there was no equivalent in the original Star Wars—’A New Hope’ was added in 1981.
   Here’s how it looked in 1977:

And if you really wish to compare them, here are all six overlaid on each other:

   I wasn’t a huge fan in the 1970s: sci-fi was not my thing, and I only saw Star Wars for the first time in the 1980s on video cassette, but I did have a maths set, complete with Artoo Detoo eraser (I learned my multiplication table from a Star Wars-themed sheet) and the Return of the Jedi book of the film. But even for this casual viewer and appreciator, enough of that opening sunk in for me to know that things weren’t quite right for The Phantom Menace in 1999. I hope, for those typographically observant fans, that The Force Awakens gets things back on track.

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How MG Rover mirrored the developments at Lada

02.11.2010

I still have Adam Curtis’s The Mayfair Set, a TV series charting the decline of British power and the rise of the technocracy, recorded on video cassette somewhere. I consider him someone who can see through the emperor having no clothes, and in The Mayfair Set, he certainly saw through the Empire having no clothes.
   As I type this, John Barry’s ‘Vendetta’ is going through my head as an earworm: the series used this piece as its theme tune.
   On my friend Keith Adams’s Facebook page was a link to Curtis’s blog at the BBC website, titled with a reference to another song, this time from Maurice Jarre’s Doctor Zhivago score. Curtis begins by saying that he uncovered a 1977 film about two British Leyland workers heading to Togliattigrad, where the Жигули (Zhiguli, or Lada to those of us outside the Soviet Bloc) was built.
ВАЗ-2101   At Togliattigrad, the managers used the chaos that was allowed to prevail to set up their alternative economic structures to line their own pockets—and corruption was rife.
   He writes, ‘What then happened is murky, but it is alleged that the managers in effect looted their own factory.’
   So far, so good. It read as a story about the bad old days of communism—till Curtis draws the clear parallels between Togliattigrad and what happened in the last days of the remnants of British Leyland. The Phoenix Four used money meant for the plant for themselves.
   Curtis again: ‘The Phoenix directors systematically restructured the business. They did it in a way that ensured that many economic benefits flowed not to MG Rover and the thousands of workers, but to the directors themselves and the man they appointed chief executive of MG Rover.
   ‘The [government] report [into the collapse of MG Rover] is over 800 pages—and it is a fascinating snapshot of our time. It lists all sorts of schemes with names like “Project Slag”, “Project Platinum” and “Project Aircraft”—all of them designed to try and bring profits not into MG Rover but into the holding company set up by the Phoenix consortium.’
   No more western superiority here: chaos—whether in the political, social, cultural or commercial realms—breeds opportunity for many. The trick is always to ensure that the opportunists are those who can put things right, rather than selfishly benefit themselves.
Beyond Branding cover   Some might see Curtis’s blog entry as a criticism of the monetarist, technocratic system—as was The Mayfair Set.
   But it is equally a story about how the absence of transparency breeds systems that benefit the few—regardless of whether the background is communism or capitalism.
   These are themes that we at the Medinge Group explored as early as 2003 in Beyond Branding, written in the wake of the Enron collapse. We’ve partly stayed on the same theme over the last eight years, because history shows us that transparency is often the enemy of inequity and unfairness. And even the technocracy.

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