Lifestyle "1983 Redux Zeitgeist Surf School"

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3KZ is Football said:
Imagine coming back from serving in Vietnam and seeing this on your TV. Martin Luther King Jnr and Robert Kennedy were assassinated the previous year, the country was tearing itself apart and then there was Woodstock . What was the TV show actually about? Strange Days.

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You so forgot the moon landing in there.
I went down the wiki rabbit warren on Hanna Barberra & then the Banana Splits and Bingo who gets a mention:

The Banana Splits' bubblegum pop rock and roll was provided by studio professionals, including Joey Levine ("I Enjoy Being a Boy", "It's a Good Day for a Parade"); Al Kooper ("You're the Lovin' End"); Barry White ("Doin' the Banana Split"); Gene Pitney ("Two Ton Tessie") and Jimmy Radcliffe, who provided his songs ("I'm Gonna Find a Cave", "Soul", "Don't Go Away Go-Go Girl", "Adam Had 'Em" and "The Show Must Go On") but did not contribute vocals to Splits recordings.

The music director was music publisher Aaron Schroeder; production duties were mainly handled by David Mook. When a heavier R&B vocal was needed, the music producers usually turned to singer Ricky Lancelotti, who was credited under his stage name Rick Lancelot. He went on to record several songs with Frank Zappa.[10] In 1968, The Banana Splits released an album on Decca Records titled We're the Banana Splits.
 
Banana Splits> In 1967, William Hanna and Joseph Barbera approached Sid and Marty Krofft to build the costumes for a television show featuring animated and live-action segments, hosted by a bubblegum rock group of anthropomorphic characters.

I remember reading Marty Kroffts Obit at the end of last year:

www.nytimes.com

Marty Krofft, 86, Dies: Created Fantastical TV Shows With Brother

With Sid Krofft, he produced children’s shows, like “H.R. Pufnstuf,” and prime time programs, including “Donny & Marie.”
www.nytimes.com www.nytimes.com

All in the Family: Lifetime Achievement Award Recipients Sid and Marty Kroftt - The Emmys

Lifetime Achievement Award Recipients, Sid and Marty Kroftt, brought their creative ‘A-game’ to Children’s programming, and TV fans reaped the rewards! By Michael Fairman In the 70’s and 80’s, which many consider the heyday of children’s programming, much of what we watched came from the vivid...
theemmys.tv theemmys.tv
 

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To cap off the venture down Juvenalia Boulevard I have thrown together this below.
Sylvia Anderson was an amazing woman and for us girls at the time of the Thunderbirds Lady Penelope was a very special and rare heroine of the '3rd generation feminist'.
(There are certain friends of mine who used it as a nickname for me, mainly because I will always have a left of field 'plan' when wanting to stretch the envelope on recreational outings.)
So here we go an investigation of certain bias:

Thunderbirds 1964-66
(Set in the future 2065-2067)
Two Series 32 X 50min episodes
First Broadcast Sept 1965 Eng.

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“Thunderbirds was the fourth Supermarionation puppet TV series to be produced by APF, which was founded by the husband-and-wife duo of Gerry and Sylvia Anderson (née Thamm) with their business partners Arthur Provis, Reg Hill, and John Read. Pitched in late 1963, the series was commissioned by Lew Grade of ITC, APF's parent company, on the back of the positive audience response to Stingray.[20][25]”
Sylvia remembers that "our market had grown and a 'kidult' show ... was the next step."
According to Sylvia, the writing process depended on a "division of labour", whereby Gerry created the action sequences while she managed characterisation.[30]
Thunderbirds was filmed at APF's studios on the Slough Trading Estate * between 1964 and 1966. By 1964, APF was the UK's largest commercial user of colour film, consuming more than three million feet (570 miles or 910 kilometres) of stock per year. Due to the difficulties of setting up takes, progress was slow: even on a productive day, it was rare for the crew to complete more than two minutes of puppet footage.[49] In a contemporary interview, Hill noted that Thunderbirds contained several times as many shots as a typical live-action series.[50] He explained that rapid editing was necessary on account of the characters' lack of facial expression, which made it difficult to sustain the viewer's interest for more than a few seconds per shot.[50]
Most expensive series at the time.
In the interest of transatlantic appeal, it was decided that the main characters would be mostly American and therefore actors capable of producing an appropriate accent were used.[28][38] British, Canadian and Australian actors formed most of the voice cast." Ref; Wiki

Doco; Making of the Thunderbirds which is excellent.



Thunderbirds series
“Set between 2065 and 2067,[8][9][10][11][Note 1] Thunderbirds follows the exploits of the Tracy family, headed by American industrialist and ex-astronaut Jeff Tracy. Jeff is a widower with five adult sons: Scott, John, Virgil, Gordon and Alan.[Note 2] The Tracys make up International Rescue, a secret organisation founded to save human life “

“Some of International Rescue's operations are triggered by sabotage or negligence instead of accidents. For missions requiring espionage, the organisation incorporates a network of undercover agents headed by English aristocrat Lady Penelope Creighton-Ward and her butler Aloysius Parker. Based at Creighton-Ward Mansion in Kent, Penelope and Parker travel in FAB 1, a specially-modified Rolls-Royce. Members of International Rescue acknowledge orders with the expression "FAB" (a shortening of the 1960s vogue word "fabulous", but spoken like an initialism: "F-A-B").[22] “ Ref; Wiki

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Puppets
The head puppet sculptors were Christine Glanville and Mary Turner, who also served as the lead puppeteers.[109] Glanville and Turner's team built the 13 members of the main cast in six months at a cost of between £250 and £300 per puppet (about £5,400 and £6,500 in 2021).[106][110] Since pairs of episodes were being filmed simultaneously on separate stages, the characters needed to be sculpted in duplicate.[43] Facial expressions were diversified by means of replaceable heads: as well as a head with a neutral expression, each main character was given a "smiler", a "frowner" and a "blinker".[41][111] The finished puppets were about 22 inches (56 cm) tall, or 1⁄3 adult human height.[100][112]

The puppets were made up of more than 30 individual components, the most important of which was the solenoid that synchronised lip movements with the characters' pre-recorded dialogue.[113] This device was positioned inside the head unit; consequently, torsos and limbs appeared relatively small.

The appearances of the main characters were inspired by those of actors and other entertainers, who were typically selected from the show business directory Spotlight.[110] According to Glanville, as part of a trend away from the strong caricature of previous series, APF was seeking "more natural faces" for the puppets.[106] The face of Jeff Tracy was based on that of Lorne Greene,[32][41] Scott on Sean Connery,[106][110] Alan on Robert Reed,[41] John on Adam Faith and Charlton Heston,[115][116] Brains on Anthony Perkins[109] and Parker on Ben Warriss.[41][117] Sylvia Anderson brought the character of Penelope to life in likeness as well as voice: after her test moulds were rejected, sculptor Mary Turner decided to use Anderson herself as a template.[118]

Main character heads were initially sculpted in either Plasticine or clay.**

Sylvia Anderson, the head costume designer, devised the main characters' attire.[30][127] To give the puppets increased mobility, the costume department generally avoided stiff synthetic materials, instead working with cotton, silk and wool.[41] Between 1964 and 1966, the department's stock numbered more than 700 costumes.[128]" Ref; Wiki
ENELOPE.jpg


I had this already saved.
Great pictures of the styling:
(I've pillaged a bit for the rest of the post)

www.messynessychic.com

The Marvellous Mod World of Sci-Fi Supermarionettes

The last place we'd ever think to look for design inspiration would be the bygone genre of television puppetry, but here we are, drooling over the unlikeliest jackpot for mid-century modern style. Enter "Supermarionation", a world devised in the 1960s by British television producers, with the abilit
www.messynessychic.com www.messynessychic.com

More Images

https://www.gerryanderson.com/thunderbirds-1965-publicity-shots-released/

The Star of the Show Lady Penelope

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Lady Penelope was voiced by Sylvia Anderson:
Although Lady Penelope and Parker (the latter voiced by Graham) were among the first characters developed, neither was conceived as a major role.[94][95] Parker's Cockney manner was based on a waiter at a pub in Cookham that was sometimes visited by the crew.[95] On Gerry Anderson's recommendation, Graham dined there regularly to study the accent.[96] Anderson's first choice for the role of Penelope had been Fenella Fielding, but Sylvia insisted she take the part herself.[87][97] Her Penelope voice was intended to emulate Fielding and Joan Greenwood.[87] On Penelope and Parker's secondary role as comic relief, Gerry explained, "We British can laugh at ourselves, so therefore we had Penelope and Parker as this comedy team. And in America they love the British aristocracy too.'"[38]

Sylvia Thomas (Anderson)



4e11da2dd57345a0b69bdf296daf85c7.jpg

Obit:
www.theguardian.com

Thunderbirds' Sylvia Anderson, voice of Lady Penelope, dies aged 88

Co-creator of supermarionation TV puppet series dies at home after short illness
www.theguardian.com www.theguardian.com

Read More:
en.wikipedia.org

Thunderbirds (TV series) - Wikipedia

en.wikipedia.org en.wikipedia.org

Some of the Outcomes as they are:
Multiple and endless.

Series was re-done 2013(?) The look is horrible and takes away all the charm of the original.
(All smoking was removed)

Paywalled unfortunately:
www.wired.com

'Thunderbirds will grow a generation of mad engineers'

Rescue Fiction is emotionally maturing – it removes the wish for magic, religion or flying people to zoom in to save the day
www.wired.com www.wired.com

* Fictional location of Ricki Gervais's original series THE OFFICE
**I know the Granddaughter of the inventor of Plasticine, Robby who lives in Bath Eng. I absolutely loved plasticine as a child, the best thing ever!
 
moginie said:
No discussion about the Thunderbirds is complete without this.



Or this.

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Such a great post.

I loved the TISM song as a closer. Piffen Yonnies (best band name ever) feature in the clip and they were a Warrnambool Band, made up of ex-students. Architecture in Helsinki also had members from my old school. They had a great music program and an amazing school band, at a time when Government Schools had just enough funding to maintain these programs. So much harder now. At least Private Schools aren’t going without and are able to maintain their Federally funded Wellness Centres, Olympic Pools and Concert Halls.
 
"Hanna is super funny. When she takes the stage as the frontwoman of Bikini Kill, Le Tigre or the Julie Ruin, she plays a kind of punk trickster, shifting her voice to resemble a bratty Valley Girl, a demonic cheerleader, an obnoxious male fan. She is always subverting femininity and disarming bad guys with her spiky and irreverent lyrics. But when it came time to write her life story, she realized that she could not playfully twist away from her past."

“Rebel Girl” documents Hanna’s long career as an underground artist and musician, and its striking intersections with the mainstream. In the 1990s, she helped instigate the riot grrrl movement, calling girls to the front of punk venues and setting off a D.I.Y. feminist ethos that was later assimilated into a girl-power marketing trend. She was a friend of Kurt Cobain’s who scrawled the phrase “Kurt smells like Teen Spirit” on his bedroom wall, inspiring the anthem that exploded into a global phenomenon.

Nineties nostalgia applies an appealingly gritty filter to that era’s underground rock scene, but it could be punishing for those who stood in opposition to its white male standard. Hanna has sometimes worried that if she put it all out there, she would be disbelieved. “I’ve been told by men: Oh, you’re just the kind of woman these things happen to, as if I have some sort of smell I’m emanating,” she said. “But I knew that other women would understand.”

Kathleen Hanna’s Music Says a Lot. There’s More in the Book.​

In “Rebel Girl,” the punk frontwoman reveals the story of her life — the men who tried to stop her, the women who kept her going and the boy who made her a mother.

www.nytimes.com

Kathleen Hanna’s Music Says a Lot. There’s More in the Book.

In “Rebel Girl,” the punk frontwoman reveals the story of her life — the men who tried to stop her, the women who kept her going and the boy who made her a mother.
www.nytimes.com www.nytimes.com

"As Hanna wrote the book, she was pulled into the dark recesses of her memory. “I was always walking around the house with this weird-ass look on my face,” she said. She was experiencing “what I guess in the ’50s you’d call a ‘nervous breakdown,’” she explained. For a time, she stopped writing and reported to a therapist’s office, where she was diagnosed with complex post-traumatic stress disorder.

The diagnosis forced her to realize that “I was living my life in a constant state of agitation and fear,” she said. And it has given her permission to ask her family for certain things to help her feel safe in their home. The place is covered in what she calls “’80s carpet,” and now Horovitz drags his feet on it whenever he approaches, so she is never startled by his sudden appearance. “It’s kind of like making him wear a cowbell, but it’s really helpful,” she said.THERE IS A MYTHOLOGY of the male artist that normalizes his aggression. For a long time his violence only contributed to his mystique, or else it was excused as a side effect of his creative drive. The recent challenges to this figure have not diminished his dominance as an archetype. He’s easy to imagine.

But the artist who is also a victim does not enjoy roomy cultural space. She must claw her way to subjectivity and defend her work against things that she did not even do. Hanna, who has been making music for more than 30 years, has watched her art get dismissed as a paroxysm or a therapy session. Her victimhood has been used to define her work and to erase it.

With Bikini Kill, Hanna made “dank rock-bro clubs” transform as if by magic. In her zines and spoken-word pieces, preserved in a riot grrrl collection at New York University, she sketched out a theory of the artist forged not in defiance to the male standard but in cool dismissal of it. If men get to be “the producers and the makers, positing myself in opposition to them resigns me to mere waiting,” she writes in one zine. In another, her call for girls to join her is charmingly misspelled: “We are not specail; anyone can do it.”
Also, she had never before spoken publicly about being a mother. “I didn’t want to get asked work-life balance questions at every single interview,” she said. Motherhood, like victimhood, was another artistic pigeonhole she hoped to avoid. But “Rebel Girl” is a book about her life, and Julius is a big part of it. “I asked him if he wanted to be in it. And he was like, I’m going to be mad if I’m not,” she said." Ref; All quotes from article
 

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3998863.jpg
Description
AITAPE, NORTH EAST NEW GUINEA. 1944-04-24. RAAF AND AMERICAN COMMANDERS CONFER ABOUT OPERATING AUSTRALIAN AND AMERICAN AIRCRAFT FROM THE TADJI AIRSTRIP BUILT BY ENGINEERS OF NO. 62 WORKS WING RAAF. LEFT TO RIGHT: BRIGADIER GENERAL P. WURTSMITH, COMMANDING GENERAL, 5TH FIGHTER COMMAND; AIR COMMODORE F. R. W. SCHERGER; WING COMMANDER W. A. C. DALE, TASK FORCE ENGINEER; LIEUTENANT GENERAL WALTER KRUEGER, COMMANDER US 6TH ARMY.
(above Grandad with the wings.)

download.jpg
Description
MOROTAI, HALMAHERA ISLANDS, NETHERLANDS EAST INDIES. 1945-06-01. GROUP CAPTAIN W. A. C. DALE OF ARMIDALE, NSW, COMMANDING OFFICER OF NO. 62 AIRFIELD CONSTRUCTION WING RAAF, CHECKS FINAL DETAILS WITH AN ARMY OFFICER BEFORE EMBARKING FOR THE INVASION OF BRITISH NORTH BORNEO.
(This photo was published in the Courier Mail in Brisbane at the time)

My Grandad, refused to ever march on Anzac Day, he despised the waste of war.
The family all respect this fact and do not march.
Grandad only ever marched once, after the war ended in the early 50's when he was ordered to by the top brass, as the Americans were in town and they wanted to see him there.
He saw no point in glorifying war, he had seen too much, he carried the burden of being asked to do much (including the planning of where exactly, the Enola Gay & Little Boy would be dropped) he stayed on after the war to insure that his men were looked after and was known in the duration for looking after the welfare of his men. He didn't waste them and he tried to the best of his ability to not let anyone else through faulty plans, waste lives.
He was given 2 nicknames by the troops 'Daddy Dale' was one, they knew he had their backs and he would always be available, talking to the lowest to the highest, considering all opinions were relevant in his strategic planning and responsibilities.
After the war was over, he took my Grandmother to live at the Chevron Hotel for 9 months, it was then one of the most luxurious hotels in Melbourne, close to St Kilda Road Headquarters, he wanted to treat my Grandmother and himself to living well together after years of seperations and deprivations.
He did not speak of the war afterwards, not because he couldn't from the associated traumas, because he chose not to, as what good was there in such a waste of humanity, he detested and avoided all jingoistic posturing.
Anzac Day rolls around every year, I respect others commemorating it as they wish, I commemorate it by remembering my Grandad's stance, as well as the lovely and loving Grandad I had the privilege of knowing for 22 years.
War what is it good for. Nothing.
 
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Ah, yes Pamcake1, I too am a child of a WW2 veteran. My father was in New Guinea, one of his brothers was in Darwin, another was at Tobruk then New Guinea, and another was in the RAF. My grandfather was driver on the Western Front during the First World War (I carry his name and my father's) and his brother was in the second wave at Gallipoli and won the DMC.

I can still remember my father waking up with night terrors as late as 1976-77, years after the war was over. The brother who was at Tobruk was a dreadful alcoholic.

You are right.

Absolutely nothing.
 
moginie said:
Ah, yes Pamcake1, I too am a child of a WW2 veteran. My father was in New Guinea, one of his brothers was in Darwin, another was at Tobruk then New Guinea, and another was in the RAF. My grandfather was driver on the Western Front during the First World War (I carry his name and my father's) and his brother was in the second wave at Gallipoli and won the DMC.

I can still remember my father waking up with night terrors as late as 1976-77, years after the war was over. The brother who was at Tobruk was a dreadful alcoholic.

You are right.

Absolutely nothing.
Click to expand...
Four brothers, a whole family? That is a huge sacrifice for a family to bear.
My heart aches for your Grandmother and all of your family.
The legacy of men serving in war and returning to families damaged, is current to this day.
A difficult thing to grow up with no doubt.

My Great Grandfather was literally blown to pieces at Passchendaele.
He didn't have to serve, he was 30 years old and the Headmaster of the local school at Bathurst, with a wife and 5 children, as all of the local men had gone and not come back he went because he considered it a duty he must do.
He was a Bren gunner and had just come off the front to rest behind lines when there was a direct hit on the camp from Big Bertha. There was nothing left to bury but of course he does have a grave at Villiers-Bretonneux, one of the countless thousands.
My Great Grandmother was left destitute as there was no war widow pension in those days, my Grandmother who was the oldest child in the family had to immediately find work to support the rest.
There are so many stories of damage, everyone suffers.

I remember reading Doris Lessing (essay on her theory but also her books) on how, because of WWI the link to 'Good Fathering and effective Fathers' was lost to modern society, because of outright loss of the Father or the damaged Fathers who returned from WWI and that this was then magnified by the same thing happening in the WWII.
I believe this theory is true, that there is a huge schism that was created by these wars in the psyche of society and the 'Lost Fathers'. This theory also extends to the paternal Govt roles that were compromised and the 'trust' damaged.

To me the legacy of Anzac day is to yes, remember families but mainly to remember where never to go again.
 
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