A Legos Felix Baumgartner Breaks the Speed of Sound

Felix Yesterday in New Mexico after several delays, Austrian skydiver Felix Baumgartner did a space supersonic free fall that broke records for both speed and altitude. During the fall, his body’s speed hit 833.9 mph (Mach 1.24) breaking the speed of sound. You have probably seen the video on TV or the Internet, but have you seen the version in Legos?

On the same date in 1947, Chuck Yeager broke the speed of sound, as reenacted in the 1983 film, “The Right Stuff.

Was Felix Baumgartner’s free fall heroic or crazy? Leave your two cents in the comments.

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    Watch Classic Music from Dick Clark’s Saturday Night Beech-Nut Show

    Dick Clark's Beech-Nut Show NRR Archives on YouTube started posting old rock and roll clips from Dick Clark’s Saturday Night Beech-Nut Show. Clips feature Johhny Cash, Jerry Lee Lewis, Connie Francis, Dion and the Belmonts, Bobby Darin, Annette Funicello, The Platters, Sam Cooke, The Everly Brothers, Conway Twitty, Ronnie Hawkins, Jackie Wilson and many others. Check out the NRR Archive link to see the clips. Here is Roy Orbison singing “Uptown” (the clip also includes Anita Bryant singing “Paper Roses”).

    Dick Clark’s Saturday Night Beech-Nut Show, also known as “The Dick Clark Show,” ran on ABC at 7:30-8:00 p.m. (EST) on Saturdays (of course) from February 15, 1958 through September 10, 1960. During this same period, Clark also hosted the show for which he is most remembered, American Bandstand, which ran on weekdays. Bandstand, which in contrast to the Beech-Nut Show featured dancing, was mainly broadcast from Philadelphia, requiring Clark to travel back and forth to Manhattan, from where the Beech-Nut Show was generally broadcast.

    Although the Saturday show sponsored by “the brightest and the happiest gum there ever was” may be less remembered than some of Clark’s other work, the show had a lot of great classic music. Check out Johnny Cash singing “The Rebel (Johnny Yuma)” below and then check out the other clips.

    What is your favorite clip in the archive? Leave your two cents in the comments.

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  • A Story of the Land and the People: Centennial Miniseries

    CentennialIn October 2012, Alex Karras, a defensive tackle for the Detroit Lions passed away. Many will remember him for his excellent play on the field or his nights in the Monday Night Football booth. Or maybe they will remember him as Mongo in Blazing Saddles (1974) or as George Papadapolison the TV series Webster (1983-1987). But to me he will always be Hans Brumbaugh, the immigrant who started out as a gold miner and ended up as a Colorado farmer in the miniseries Centennial.

    I have already written about one of my favorite TV miniseries, Lonesome Dove, but another one of my all-time favorites is the 1978 12-part Centennial, which originally ran on TV in two and three hour segments over a four-month period. The show dramatized the settling of the West over centuries by focusing on one town in Colorado.

    Like many of the 1970s miniseries, the show was a who’s who of TV stars and others, including: Chief Dan George, Robert Conrad, Richard Chamberlain, Lynn Redgrave, Sharon Gless, Timothy Dalton, Barbara Carrera, Robert Vaughn, Brian Keith, Raymond Burr, Richard Crenna, David Janssen, Donald Pleasence, Dennis Weaver and Alex Karras. Another two of the stars, Andy Griffith and Chad Everett, also recently passed away. Rotten Tomatoes reports that at the time, Centennial was the most-expensive, the longest, and most complicated miniseries up to that time, with four directors and more than 100 speaking parts.

    When the miniseries first ran, I rushed out and bought the very long book by James Michener, who wrote many other novels adapted for film or TV like South Pacific (1958) and Hawaii (1966). Like many of Michener’s other books, Centennial tells the story of an area in Colorado beginning with the land and following animals and generations of people through centuries.

    In the TV version, the land formation information is condensed down to a few minutes in the opening clip and we begin following the people on the land. But even the mentions of the animals and the land foreshadow how they will affect the humans on the land in later episodes. The story really begins when the narration drops off and Robert Conrad appears as a trapper.

    While the miniseries and novel are not about real people, many of the characters are based upon real people and many of the events reflect real events. One of the things that makes the series work so well is that Michener and the producers convey real history while also telling compelling stories about people using fiction’s freedoms.

    Among other things, Michener’s practice of doing extensive research results in a tale that incorporates many people often underrepresented in Westerns. The series’s portrayal of strong pioneer women and the struggles they faced, as well as its portrayal of the tragedies heaped upon the Native Americans will likely go beyond what you might expect from a 1970s TV miniseries.

    It is hard to tell a compelling story when a large time period and generations are covered, but the miniseries keeps the focus on several characters from youth to old age. Some of the episodes, such as one about a cattle drive, seems to digress to a new group of characters, but eventually you see the connections.

    If there is a weakness in the series, it is when it finally jumps ahead to modern times in the final episode and tries to tie all of the history together through a local election. While the final episode does not quite live up to what it should be for such an outstanding miniseries and it does not give the payoff you should get from a 26-1/2-hour series, it does not diminish the enjoyment of the rest of the show. I like what the writers tried to do with the final episode, even if it does not live up to the rest of the series, and the final show goes out on a high note with a touching performance by Merle Haggard.

    Conclusion: If you like tales of the American West and do not mind history mixed with fiction if it tells a good story with interesting characters, then check out Centennial, an excellent Western and human saga in the form of a mini-series. The series is available on DVD.

    What do you think of Centennial? Leave your two cents in the comments.

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    Who Are You . . . Pete Townshend?

    Pete Towshend as a Child This week on CBS Sunday Morning, Anthony Mason interviewed Pete Townshend, who opened up about his childhood, the criminal charges that almost ended his career, and his relationship with Roger Daltrey. It was a very incisive interview with the Who musician that among other things, saw Townshend contemplating how his own very troubled childhood inspired the rock opera Tommy.

    Although I had already heard the story about how Townshend adopted his trademark windmill style of guitar playing from a misunderstanding about The Rolling Stones, it is such a great story that it is always worth hearing him tell it again.  [Update: Unfortunately, the video is no longer available for embedding.]


    What do you think of the interview? Leave your two cents in the comments.

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    Paul Thomas Anderson’s Epic Poem on an American Cult: “The Master” (Short Review)

    the master Writer and Director Paul Thomas Anderson‘s latest film, The Master (2012), stars Joaquin Phoenix as a troubled man who finds a home for awhile with the leader of a movement played by Philip Seymour Hoffman. The navy veteran played by Phoenix bounces around aimlessly, apparently haunted by some mental illness, until he attaches himself to Hoffman’s character, an author who developed “The Cause” as a method he claims will help people live their lives.

    Although the film is fictional, many have pointed out a number of similarities between Hoffman’s character and Scientology founder and author L. Ron Hubbard, which adds an interesting layer to the film.

    It is a challenging film in a number of ways, highlighted by vignettes more than a narrative story — although the movie is not without plot. Yet, as in Anderson’s There Will Be Blood (2007) that starred Daniel Day-Lewis, what one may remember most from the movie is the fine acting combined with haunting images throughout.

    As happens after I watch a Stanley Kubrick film, after watching The Master I keep reconstructing and re-imagining certain scenes and the way the director laid them out. Scenes like one of Phoenix stretched out on a ship above his shipmates or of Hoffman riding a motorcycle in a desert convey a certain haunting feeling that cannot be described in mere words.

    Because of those images and others like them, perhaps the movie will hold up well on repeated viewings. But on my first viewing, I did find the movie watching experience a pleasant one even as I admired the film.

    The weakness in the movie is that pretty much all of the characters, including the Master’s wife played by Amy Adams, are not very likeable. A movie can be enjoyable and about unlikeable characters, but I might have liked the movie more with a little more information about why the characters were like they were, although there were hints that Phoenix’s character’s troubles resulted from the war. Yet, as it was, I spent 2 hours and 18 minutes with unlikeable characters, whose oddities were emphasized with a musical score of dissonant chords.

    I found a similar weakness in There Will Be Blood, and missed a heart that appeared in some of Anderson’s great earlier works like Boogie Nights (1997). Of course, in The Master, Anderson is trying to say something about 1950s America that would have been lost had he included likeable characters. So, I get it.

    Conclusion? The Master is a very good and challenging film but not for everyone. If you are looking for a conventional story with sympathetic characters, you might want to skip this one. But if it is worth it for you to ponder scenes of chilling beauty, make sure to see this one on the big screen.

    Other Reviews Because Why Should You Listen to Me?: Andrew O’Hehir at Salon has an excellent discussion of the film, praising its genius as a tale about L. Ron Hubbard’s America while thoughtfully considering its weaknesses too. Lisa Kennedy at The Denver Post says the film is both “confounding” and “magnificent.” By contrast, Cole Smiley claims “the audience is left to decide if the movie is some kind of bad joke, or an artistic project gone horribly astray.” Rotten Tomatoes gives the film an 84% critic rating and a 62% audience rating, and that disparity is not surprising considering how the challenging aspects of the film may endear critics more than most general filmgoers.

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