Adapted from the eponymous Michael Moorcock novel and premiering in UK cinemas on this day in 1973, the Robert Fuest sci-fi, action production (thanks to the introduction from The Flop House), the plot centring around the quest for post-humanism beings—perfect and self-propagating—is a post-modern Prometheus story that shares a lot of energy and aesthetics with the roughly contemporary Abominable Doctor Phibes. Bent on carrying out the taboo and contro-versial plan of a recently deceased mad scientist and bring human kind into a new age and out of an existence condemned to near post-apocalyptic wasteland, Miss Brunner—a sado-masochistic techno-magician—instigates the epiphanical sequence, causing her to merge with the protagonist, a suave playboy physicist and son of the man scientist called Jerry Cornelius and dispatching with the henchman named Dmitri who had helped bring their plot to fruition—briefly manifesting as some sort of messianic figure to herald a new age before devolving into a caveman (see also). The creature, as it escapes the secret lair, observes that it is indeed “a very tasty world.”
First broadcast on this day in 1973 in most markets as Season 1, Episode 2 of Star Trek: The Animated Series—with the exception being Los Angles where George Takei was running for public office and this programme which did not feature his voice-acting was substituted so as not to run afoul of equal-air-time clauses—this classic was authored by D. C. Fontana and for its elegant handling of fractured time-lines is considered among the best episodes of the series. Captain Kirk and First Officer Spock return to the Enterprise after conducting a series of time travel excursions with only to find that they have somehow altered the past where Spock never joins the crew and must repair the time-line.
Having considered myself pretty familiar with the entire Schoolhouse Rock! catalogue (see previously here and here) and enjoying them as a kid, I was taken aback to be introduced to this segment that not only teaches one the twelves multiplication table but also about the duodecimal system and other bases—plus acceptance of actual polydactyly. Including My Hero, Zero and Three is a Magic Number, Bob Dorough performed and produced a dozen (the number one not given an episode) maths shorts during the course of 1973.
Eventually making it to the number two place on the US charts but not ranked in the UK as the BBC refused airplay for the trademarked name, the lead single, released on this day in 1973, from his third studio album There Goes Rhymin’ Simon, the song was originally to be called “Goin’ Home” and was critically praised for its upbeat and cheery (exaggerated, over-saturated colours akin to filters and face-tuning) anti-social lyrics.
Via the always engaging Present /&/ Correct (check out their sundries and notions), we learn that the postal authority in the Kingdom of Bhutan in 1973 issued commemorative stamps that were tiny vinyl records that could be played on a full-sized turn-table with a stylus, most featuring traditional folk music and acoustic samples of the country. More at the links above including a rendition of the Bhutanese national anthem replayed from phonographic postage.
Hosted by news anchor and television personality Tom Snyder, the late night programme The Tomorrow Show, airing on NBC from 1973 to 1982, had several prominent guests including John Lennon, Ken Kesey, The Grateful Dead, Ayn Rand and Charles Manson—giving national exposure and their first televised performance to U2 and Weird Al Yankovic, who appeared on this day in 1981. The network often used the show to plug holes in late night scheduling, including conducting an impromptu ninety minute interview with Jerry Lewis in October of 1975 to cover over technical delays until Snyder could interrupt the conversation to introduce the “Not Ready for Primetime Players”—later to be recognised as the first cast of Saturday Night Live.
Bent on carrying out the taboo and contro-versial plan of a recently deceased mad scientist and bring human kind into a new age and out of an existence condemned to near post-apocalyptic wasteland, Miss Brunner—a sado-masochistic techno-magician—instigates the epiphanical sequence, causing her to merge with the protagonist, a suave playboy physicist and son of the man scientist called Jerry Cornelius and dispatching with the henchman named Dmitri who had helped bring their plot to fruition—briefly manifesting as some sort of messianic figure to herald a new age before devolving into a caveman (see also). The creature, as it escapes the secret lair, observes that it is indeed “a very tasty world.”
