Tag Archives: Glen Campbell

Glen Campbell (1936-2017)

My first memory of Glen Campbell is of sometime during the summer of 1975, not long after my family returned to the States after near-five years overseas. We stayed with my grandparents for a week or two, camping out in their living room, and enjoyed their big color TV – well, it was probably all of 21 inches, but it seemed big to little ol’ me, who was a few weeks shy of turning 10 and accustomed to a 10- or 12-inch black-and-white TV.

Or did it occur during a summertime visit in 1976, when my brother and I sometimes stayed the night? Either/or, I was a pre-music fanatic, far more a pro wrestling fan than anything else. And yet I distinctly remember being transfixed as the virtual optimism that is “Rhinestone Cowboy” rolled from the TV and filled the room.

Years later, of course, I discovered his other classic singles, including “Gentle on My Mind,” “By the Time I Get to Phoenix,” “Wichita Lineman” and “Galveston,” and learned about his stint in the now-legendary Wrecking Crew.

The first thing I think of when I hear him, however, is that performance of “Rhinestone Cowboy,” which – sad to say – I’ve never been able to track down.

The second thing I think of: In late 2000, I interviewed him for a TV GUIDE Close-Up on a Ralph Emery-hosted Country Homecoming TNN special. The show consisted of him and a half dozen (or so) other country greats singing and reminiscing with Emery. Like just about every celeb I interviewed during those years, he was nothing but kind – and funny. I mentioned that one thing I liked about the special was the stripped-down performances of the songs. He agreed, his wide smile beaming through the phone line. “Oh, I like it raw,” he said. And with that, he launched into an impromptu (albeit chorus-only) renditions of Bob Dylan’s “Lay, Lady, Lay” and two or three other songs.

Glen Campbell was a good guy. He’ll be missed.

Today’s Top 5: April 9, 1977

Where has the time gone?! It seems just like yesterday that I was a studious sixth-grader (yes, that’s me to the left) successfully navigating the rigors of academia at Loller Middle School, the first of the Hatboro-Horsham school district’s two middle schools (6th-7th grades; 8th-9th grades). I was on my way to achieving the Honor Roll yet again on this day 40 years ago, and would continue to do so until 8th or 9th grade, when I ran into problems with math. X plus Y equals what?!

According to my old report card, my homeroom teacher was Miss Goldeman – but, sad to say, I have no memories of her beyond a vague feeling that she may have been an art teacher. In fact, I have few in-school memories of any kind from that spring. I do remember a fire drill that found us kids lined up outside on a dreary day for what seemed like forever, but it could well have been the previous fall or sometime during the next school year; regardless, it turned out that it wasn’t a fire drill but a locker search. (The only thing they would have found in mine: gum.) I watched far too much TV, and read and collected pro wrestling magazines.

One book that I read around this time: The Eagle Has Landed by Jack Higgins, about a Nazi plot to kidnap Winston Churchill. I remember that because I decided I wanted to read it after seeing the film of the same name, which was released in the States on April 2nd.

In the wider world wider: Jimmy Carter was president. Unemployment was high at 7.2 percent, but on a downward slope; and inflation was unseemly, too, at 7.0 percent. No president deserves acclaim or blame for the economy three months into their first term, of course; their policies have yet to be implemented, and even if they have, it takes time for those changes to reverberate beyond the bureaucracy. So I’ll save my criticisms of Carter for another day.

As I write, the temperature outside is 69.6 degrees, the sun is out and few clouds dot the blue, blue sky. It’s a beautiful day. This day in 1977, a Saturday, wasn’t quite as nice: though the sun was out, the high peaked at a mere 48 degrees. The low was 25. We likely visited one or both sets of grandparents, or the great-aunts & uncle, as that’s what we did most weekends.

In the sports world, the Flyers, who racked up a 48-16-16 record during the regular season, were two days away from beginning their first-round playoff series against the Toronto Maple Leafs. They’d lose the first two games before winning four straight, but were then swept in the next round by the Boston Bruins. The 76ers, in the penultimate game of their season, defeated the Washington Bullets 125-93, improving their record to 50-31; they’d make their way to the NBA Finals—and lose to the Portland Trailblazers. The other team in town, the Phillies, began their season with a 4-3 lose to the Montreal Expos.

Anyway, enough of the preamble. Here’s today’s Top 5: April 9, 1977 (via Weekly Top 40)

1) Abba – “Dancing Queen.” Debuting at No 1 is this dollop of unadulterated pop, which some folks hate with a passion. Not me, though. It never fails to put me in a good mood.

2) David Soul – “Don’t Give Up On Us.” The No. 2 song of the week is this kitschy number from the actor better known as Richard “Hutch” Hutchinson on Starsky & Hutch. Along with Charlie Rich’s “The Most Beautiful Girl in the World,” it was often a featured song on TV commercials for love-themed compilation LPs during the late ‘70s.

3) Thelma Houston – “Don’t Leave Me This Way.” Clocking in at No. 3: this disco tune from Ms. Houston, which would top out at No. 1 in a few weeks and earn her a Grammy for Best Female R&B Performance.

4) Hall & Oates – “Rich Girl.” Falling from No. 1 to No. 4 is this classic from the blue-eyed soul duo, who met while students at Temple University in Philadelphia in 1967.

5) Glen Campbell – “Southern Nights.” Years ago, in my TV GUIDE days, I interviewed Campbell (via phone) for a Nashville Network special that he was in – and he was nothing but nice. Super nice, actually. He even sang snippets of different songs to me, including Bob Dylan’s “Lay, Lady, Lay.” Of this song, this week it jumped from No. 9 to No. 5 and was on its way to No. 1.

And two bonuses:

6) The Steve Miller Band – “Fly Like an Eagle.” I don’t believe I ever bought anything by Steve Miller. I never felt the need. Not because his songs weren’t catchy or good, but because they were played so often on Philly radio stations that I came to know them like the back of my hand. Of this song: Having already hit No. 2 a month a change earlier, this week it held steady at No. 13 for a second week.

7) Rod Stewart – “The First Cut Is the Deepest.” The No. 22 song this week is this classic, which many folks, nowadays, consider a Sheryl Crow song. And while I love her version, I can’t help but to shriek a little inside when she’s credited for the Cat Stevens-penned tune, which was a U.K. hit for P.P. Arnold in 1967 and, a decade later, a sizable hit for Rod Stewart in the U.S.

 

Today’s Top 5: Good Girls Revolt, Take 2 – March 23, 1970

Earlier today, I watched (for the umpteenth time) one of my favorite films: Breakfast at Tiffany’s, which was released in 1962. It’s a whimsical love letter to eccentricity, escape and the human-feline bond, and Holly Golightly may well be Audrey Hepburn’s most iconic role. The movie is also notable, of course, for introducing the Henry Mancini-Johnny Mercer song “Moon River” to the world.

Here’s some food for thought, though: In 1962, Holly’s opportunities were extremely limited because of her gender. She would have been disqualified from many jobs; and, even if an employer made an exception and hired her, she could expect to be paid much less than a guy doing the same work. She also wouldn’t be able to get a prescription for the birth-control pill, as it was only given to married women (and only in some states); and, regardless of her marriage status, she could be fired if she became pregnant. And if a male colleague or superior grabbed her ass? She had no recourse. Sexual harassment, as a concept, didn’t exist. Oh, and even if she had graduated as the valedictorian of her high school, she couldn’t apply to Harvard, Yale or Princeton, as women weren’t accepted as students. She’d also have difficulty getting a credit card.

fullsizeoutput_10a5Which is why Good Girls Revolt, a fictionalized account of the experiences of women at Newsweek during late 1969 and early 1970, is such an important series. On the surface, of course, it’s about women fighting for the right to pursue their dreams – in this case, reporting and writing. But it’s more than that. It’s about an era when change was spreading through society writ large. And while the America of 1969-70 was different than it was in 1962, it was not as different as, at first blush, it may seem – within the counterculture? Yes. Within the wider culture? Not so much. In 1970, for instance, CBS nixed the idea that Mary Tyler Moore would portray a divorcée in her eponymous sitcom because executives feared it would offend viewers. Instead, her character (Mary Richards) moved to Minneapolis after breaking off a long engagement.

Good Girls Revolt, for those who’ve yet to see it, opens after the concert fiasco at Altamont Speedway near San Francisco in December 1969. As I said here, the dialogue’s occasionally clunky in the first few episodes and the characters sometimes teeter near stereotypical – but it’s well-acted. Let me add an adverb: It’s extremely well-acted. (Genevieve Angelson, who plays lead character Patti, deserves an Emmy Award.) While glimpses of greatness are seen in the early going, it’s not until midway through the 10-episode run – the New Year’s Eve episode, to be specific – that the series hits its stride. (That’s not a criticism; most new shows take a while to find their groove.) By the last episode, when the employees take a public stand, you’ll be left wanting more. Much more.

However, last week, Amazon nixed a second season despite the show doing well in every available metric. According to Hollywood Reporter, Sony Pictures Television, which produces the show, is currently shopping it to other networks – ABC, Freeform, USA Network, Bravo and Hulu are all said to be interested – but they won’t take it on if they don’t think there’s an audience. So head over to Care2 and sign the petition.

The women themselves let their voices be heard on March 16, 1970, the same day that Newsweek published a cover story on the nascent women’s movement. The issue is actually dated March 23rd; like most magazines, then and now, Newsweek pre-dated its issues so that it retained newsstand appeal. For the purposes of today’s Top 5, I’m sticking to the 23rd – well, actually the 21st. The charts over at Weekly Top 40 are two days off.

Anyway, here’s today’s Top 5: Good Girls Revolt, Take 2 – March 23, 1970. These are the songs by female artists that, according to Weekly Top 40, were in the Top 40 that week.

1) Aretha Franklin – “Call Me.” The top 18 hits this week are by men; the highest-charting 45 by a woman is this, at No. 19. It was the lead single from Aretha’s 1970 This Girl’s in Love With You album.

2) The Supremes – “Up the Ladder to the Roof.” The next female act, the Supremes, comes in at No. 25. It’s notable as the first post-Diana Ross single by the Motown stalwarts; Jean Terrell handles lead vocals.

3) Lulu – “Oh Me, Oh My (I’m a Fool for You Baby).” This gem from Lulu (one of my favorites by her) ranks at No. 31.

4) Bobbie Gentry and Glen Campbell – “All I Have to Do Is Dream.” Of this week’s Top 40, exactly three and a half songs are by women. (Let that sink in for a moment.) This, a cover of the Everly Brothers’ classic, ranks No. 34.

5) The Five Stairsteps – “O-o-h Child.” This was a newly ranked single within the Top 100; along with its flipside, “Dear Prudence,” it was No. 85. (The Stairsteps were five siblings – four brothers and one sister – and they all take a turn singing lead here.)

And one bonus…

6) Gladys Knight & the Pips – “You Need Love Like I Do (Don’t You).” Another new entry this week, coming in at No. 87.

And that, believe it or not, is the extent of women in the chart, which covers Numbers 1 through 50 and adds 14 additional “new this week” entries for the Top 100 as a whole.