#which was in 1968

[ringo-starrdust]

George Harrison circa 1968 (?)

[questionableadvice]

~ Beretta Minx, 1968

“I am 22. And very petite. … You don’t have to be a big muscle man to pull back my slide”

Gun ads: blurring the line between sex and violence for at least 56 years

[sleepnoises]

my sewing machine was working badly—inconsistently badly, where it was SO close to being fine, but was not fine—and i was feeling real despair about it and then i reread the manual and got it working again. low lows and high highs of sunday. i believe the problem was that i put the needle in the wrong way (twice) [embarrassing]

[hootenanie]

people really used to talk in a way. i remember i was reading this paper a while ago about homophobia in hippie scenes and this guy shared how when he was living in the haight with his boyfriend one evening two young woman came round and tried to fuck them and when they realized they werent interested one said to the other “this is a fag pad, let’s split!” before leaving. which i’m sure was very hurtful and i dont want to make light of that. she shouldnt have said it. but also god i think of that sentence all the time

[sesamestreep]

“requiem for methuselah” crazy ass episode for many reasons. Kirk is being fully insane, like I don’t actually think, even controlling for how quickly and easily and readily he seems to fall in love with anybody at the slightest encouragement, that he’d go that bonkers for that android woman he just met while everyone on the ship was this close to dying, but that’s neither here nor there, because in the background you’ve got an equally but much more subtly insane episode for Spock, who extremely uncharacteristically admits to experiencing an emotion (or nearly experiencing, whatever) and that emotion is ENVY of all things. And then spends the rest of the episode warning Kirk away from this new love interest (something that doesn’t usually happen, even when Kirk has very inadvisable love interests) and is, in the end, the person who accurately identifies that Rayna’s competing love for Kirk and Flint is ultimately what overwhelms and destroys her with the most killer line in maybe history???

And then to wrap it up we get an equally uncharacteristic sort of denouement scene (TOS loooves to cut an episode off right after the actual climax, leaving little time for falling action or character reflection, or to stick a sitcom-y button on the end where the gang all smiles and laughs at their misadventures and everything resets to zero, which is not a criticism, it’s just the style of that era of tv, honestly) where Kirk is literally miserable over Rayna’s death (again, kind of unusual for a lot of his love interests, he tends to be able to move on pretty quickly) and Spock goes to see him and he falls asleep right in front of Spock (also odd) and then when Bones comes in to give the final word on Flint, Spock waves him off from waking the Captain (tender) and Bones gives him that awful speech about how it’s sadder that Spock can’t even imagine the love Kirk felt for this random android woman than it is that Kirk lost her in the first place (debatable but also rude) and how his great tragedy is that he can’t love at all like they can and how all he wishes is that Kirk could forget about all of this and move on. AND THEN, to have Bones leave and Spock go over to Kirk and very gently, tenderly, reluctantly touch him and put his hand to his forehead and tell him to forget and HAVE THAT BE THE END OF THE EPISODE??? What am I supposed to do with that??

[strangestcase]

You remember that list of J&H movies that actually slap? I cannot find the post for the life of me and I NEED to watch that French one. Help a sister out! What was the name???

Alright SO!

Doc’s incredibly objective list of J&H films that fucking SLAP:

-Le Testament Du Docteur Cordelier (1959): obscure French TV film by Jean Renoir in which Mr. Hyde is a sex pervert played by a mime. Set in 1950s France but incredibly accurate to the book.

-I, Monster (1971): a British production with Christopher Lee and Peter Cushing as main characters. A more “realistic” science-y take on the story.

-Dr. Jekyll and Mr. Hyde (1920): with John Barrymore. It’s also an adaptation of The Picture of Dorian Gray. -Dr. Jekyll and Mr. Hyde (1931): a “talkie” version of the previous movie. Not the best writing wise but it’s gorgeous. The acting and SFX are the best I’ve seen so far.

-El Hombre y La Bestia (1951): Argentinian movie in which Jekyll is married with a four year old son. And it’s heartbreaking. Other than that is very similar to Le Testament in the ways it adapts the story and changes the setting.

-Nightmare Classics: Jekyll and Hyde: episode of the show Nightmare Classics which it is a very interesting retelling of Jekyll and Hyde.

-The League of Extraordinary Gentlemen (2003): okay this one isn’t a J&H movie but Jekyll and Hyde are in it and they’re very well acted and characterized. Go on, sue me.

Might expand the list when and if I find more movies that are worthwhile or at least not mid.

[lastmidtownshowmp3]

Let’s hear it for America’s suitehearts

[t00thpasteface]

shebbz i just want to say that you are single-handedly convincing me to watch mash... i know nothing about the show but ur chipping away at my brain like a misfolded protein

just make sure you watch it without laugh tracks

[dozydawn]

“an amorous assortment of puritanical prose” 1968

[john-pancreas]

Sniperspy in Scotland with Demo? :O

The boys are in Scotland!!

with demo!! i uh… I think they are… having… a good time?

think they went to a bar

that was probably a bad plan…

uh… ANYWAYS!! Where should spy and sniper travel next? :D

thanks anonymous for the suggestion!! <3

[crimson-and-clover-1717]

Since I first watched the show, the 1968 song ‘Crimson and Clover’ has haunted my dreams. It’s why it’s my handle. It won’t leave me alone. ❤️💚

[theoriginaleppieblack-blog]

[get-back-homeward]

—From In His Own Write (1964) | First published in Mersey Beat August 17, 1961 | Written 1958-1959 (see below)

Q: There’s a very, very sad poem at the end of the play about Kakky Hargreaves who is some sort of person whose name changes during the poem who’s gone lost. Who was Kakky Hargreaves?

JOHN: Well, nobody, you know. It was Kakky, or Cathy, or Tammy. So it was all those people. But the point is that you GOT it -- the sadness that I wrote into it. But after you write something, a song or anything, you get the sadness and then you perform it or you put it on paper and then that’s gone. And the only way you get the joy back of writing it or the sadness back, is when somebody like Victor or somebody else comes and reads it to you, or acts it out. Like, when I first saw the rehearsal of the play, and they said these words back to me and I got the sadness from Kakky Hargreaves like I’d never heard it before.

Q: You wrote that one when you were very young.

JOHN: Yes. That was, sort of, pre-Beatle. Eighteen. Nineteen.

VICTOR: (laughs)

Q: And have you written lately?

JOHN: Well I write, I think, all the time. So I mean, it’s the same. I actually don’t put it on paper so much these days, but it goes into songs -- A lot of the same energy that went into those poems. I don’t know what I actually do with the thoughts, but they come out either on film, or on paper, or on tape. I’ve just got lots of tape, which, I suppose if I put onto paper it would be a book. But it’s just a matter of, do I want to make those tapes into paper or make the tapes into records.

Q: Does it feel the same to you when you’re writing something on paper and when you’re writing a song lyric?

JOHN: It does now. In the old days I used to think, if song writing was this... you know, 'I love you and you love me,' and my writing was something else, you know. Even if I didn’t think of it quite like that. But I just realized through Dylan and other people... BOB Dylan, not Thomas... that it IS the same thing. That’s what I didn't realize being so naive -- that you don’t write pop songs, and then you DO THAT, and then you DO THAT. Everything you do is the same thing, so do it the same way. But sometimes I’ll write lyrics to a song first and then I'll get the same feeling as Kakky Hargreaves or a poem and then write the music to it after. So then it’s a poem, sung. But sometimes the tune comes and then you just put suitable words to fit the tune. If the tune is (sings) 'Doodle-loodle loodle-leh,' and then you have 'Shag-a-boo choo-cha.' You know, you have sound-words then, just the sound of it. ‘Cause it IS all sound. Everything is vibrations, I believe, you know. Everything is sound, really, or vision. And just, the difference between sound and vision I’m not quite sure about. But its all just (imitates a vibrating sound) 'vuh-wuh-wuh-wuh-wuh-wuh.'

—BBC-2 Interview of John Lennon and Victor Spinetti (about the In His Own Write play) [x] | June 6, 1968

—Remember by John Lennon | Written: started July 1969 | Recorded: October 9, 1970 (John’s 30th birthday), after seeing his father the last time | Released: December 11, 1970

—Get Enough by Paul McCartney | Written: 2016-2018 (?) | Recorded: 2018 | Released: January 1, 2019 (midnight)

[adaptations-polls]

Which version of this do you prefer?

Note: 1968 option should say movie musical and not musical musical lol sorry about that

[bloodenjoyer]

should i watch the monkees show first or watch head 🤨mystery question

actually really good question. You can watch head first and then watch the monkees and then return to watch head again with a new mindset. if you’re crazy

[mariocki]

A very brief turn by Frazer Hines, as stable hand Jem, in Peter Diamond's pilot for a proposed adventure series Lochinvar (1968). There was little interest in the pilot or any subsequent series, and ultimately the sole filmed episode was never transmitted - it survived in the hands of director/producer Diamond until his family donated the film stock to Kaleidoscope a few years ago.