Word: things
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Dates: during 1960-1969
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...audiences nowadays seem to want or need. Blackouts, slapstick, instant skits pinwheel before the eyes; chatter and sound effects collide in the ear. Other TV variety shows can be dropped intact onto a theater or nightclub stage, but Laugh-In would be impossible anywhere but on television. For one thing, each show is stitched together from about 350 snippets of video tape. Some of them-a flash of graffiti, for example, or a mugging face-last only an eighth of a second. Executive Producer George Schlatter calls this "energy film," a technique that gives a kind of booster burst...
Schlatter (referring to notes): "We've got a thing that worked the other night, and I think we ought to run with it. That line from the alligator wrestling bit, 'Blow in his ear and he'll follow you anywhere.' It went through the studio like wildfire Let's keep it going. (He turns page.) The scripts are getting funnier and tighter all the time...
...graffiti (her latest contribution: LASSIE KILLS CHICKENS). On taping days, the writers are everywhere, feeding lines on the set, in the halls, dressing rooms, offices and wardrobe department. Periodically, the cast members try out impromptu bits on one another, often walk before the camera and say the first thing that comes into their heads. Recalls Sammy Davis: "I was looking forward to appearing on the show. Joey Bishop was going to be on, too. But when we went into rehearsal, I was handed the fattest script I have ever seen in my entire life. It was about four inches thick...
...stage is empty, in semidarkness. Suddenly, in a huggermugger of stumbling hurry and shouted directions, a family spills out of a stairwell, dropping luggage and household possessions all over the room, and collapsing in relief. Obviously a close thing, whatever it was. The lights come up as they freeze - father, mother, daughter and Negro maid-while into the tawdry room and out through the theater comes a dreadful ululation of voices...
Boycotted in Chicago. At least one thing can be said for the cover. It suits the spirit of the music inside. The album bristles with the brand of hard, raunchy rock that has helped to establish the Stones as England's most subversive roisterers since Fagin's gang in Oliver Twist.* It also stands in notable contrast to their previous album, Their Satanic Majesties Request, which ventured into the realm of electronic wizardry and psychedelic fantasy charted by the Beatles in Sgt. Pepper. Since that was an alien idiom for the Stones, they sounded pretentious and boring...