Playboy After Dark
Playboy After Dark is an American television show hosted by Hugh Hefner. It aired in syndication through Screen Gems from 1969 to 1970 and was taped at CBS Television City in Los Angeles. Playboy After Dark followed much the same style as Hefner's earlier show, Playboy's Penthouse, taped at WBKB-TV in Chicago; the show portrayed a "typical" party at Hefner's place, complete with Playboy Playmates and celebrities, who would chat with Hefner and perform for the party. Guests included Barbi Benton, Joe Cocker, Ike & Tina Turner, Sammy Davis Jr. Jerry Lewis, Peter Lawford, Buddy Rich, Harry Nilsson, Grateful Dead, Moms Mabley, Deep Purple, Fleetwood Mac, Three Dog Night, Grand Funk Railroad, James Brown, Iron Butterfly, Linda Ronstadt, Jack Jones and others; the first episode features Sally Marr, mother of Lenny Bruce, who had appeared on Playboy's Penthouse ten years earlier. Two volumes of the best of Playboy After Dark have been released on DVD. Playboy After Dark on IMDb Playboy After Dark at The Interviews: An Oral History of Television
Screen Actors Guild Award
Screen Actors Guild Awards are accolades given by the Screen Actors Guild‐American Federation of Television and Radio Artists to recognize outstanding performances in film and prime time television. The statuette given, a nude male figure holding both a mask of comedy and a mask of tragedy, is called "The Actor", it is 16 inches tall, weighs over 12 pounds, is cast in solid bronze, produced by the American Fine Arts Foundry in Burbank, California. SAG Awards have been one of the major awards events in Hollywood since 1995. Nominations for the awards come from two committees, one for film and one for television, each numbering 2100 members of the union, randomly selected anew each year, with the full membership available to vote for the winners, it is considered an indicator of success at the Academy Awards. The awards have been telecast since 1998 on TNT, since 2007 have been simulcast on TBS; the inaugural SAG Awards aired live on February 25, 1995 from Universal Studios' Stage 12. The second SAG awards aired live from the Santa Monica Civic Auditorium, while subsequent awards have been held at the Shrine Auditorium.
On December 4, 2017, it was announced that the award show would have its first host in its twenty-four year history with actress Kristen Bell presiding over the ceremony. 1995: 1st Screen Actors Guild Awards, for the year 1994 1996: 2nd Screen Actors Guild Awards, for the year 1995 1997: 3rd Screen Actors Guild Awards, for the year 1996 1998: 4th Screen Actors Guild Awards, for the year 1997 1999: 5th Screen Actors Guild Awards, for the year 1998 2000: 6th Screen Actors Guild Awards, for the year 1999 2001: 7th Screen Actors Guild Awards, for the year 2000 2002: 8th Screen Actors Guild Awards, for the year 2001 2003: 9th Screen Actors Guild Awards, for the year 2002 2004: 10th Screen Actors Guild Awards, for the year 2003 2005: 11th Screen Actors Guild Awards, for the year 2004 2006: 12th Screen Actors Guild Awards, for the year 2005 2007: 13th Screen Actors Guild Awards, for the year 2006 2008: 14th Screen Actors Guild Awards, for the year 2007 2009: 15th Screen Actors Guild Awards, for the year 2008 2010: 16th Screen Actors Guild Awards, for the year 2009 2011: 17th Screen Actors Guild Awards, for the year 2010 2012: 18th Screen Actors Guild Awards, for the year 2011 2013: 19th Screen Actors Guild Awards, for the year 2012 2014: 20th Screen Actors Guild Awards, for the year 2013 2015: 21st Screen Actors Guild Awards, for the year 2014 2016: 22nd Screen Actors Guild Awards, for the year 2015 2017: 23rd Screen Actors Guild Awards, for the year 2016 2018: 24th Screen Actors Guild Awards, for the year 2017 2019: 25th Screen Actors Guild Awards, for the year 2018 Outstanding Performance by a Male Actor in a Leading Role Outstanding Performance by a Female Actor in a Leading Role Outstanding Performance by a Male Actor in a Supporting Role Outstanding Performance by a Female Actor in a Supporting Role Outstanding Performance by a Stunt Ensemble in a Motion Picture Outstanding Performance by an Ensemble in a Motion Picture Outstanding Performance by an Ensemble in a Drama Series Outstanding Performance by an Ensemble in a Comedy Series Outstanding Performance by a Male Actor in a Drama Series Outstanding Performance by a Female Actor in a Drama Series Outstanding Performance by a Male Actor in a Comedy Series Outstanding Performance by a Female Actor in a Comedy Series Outstanding Performance by a Male Actor in a Miniseries or Television Movie Outstanding Performance by a Female Actor in a Miniseries or Television Movie Outstanding Performance by a Stunt Ensemble in a Television Series Screen Actors Guild Life Achievement Award Note: Winners are indicated in bold type.
- Official website
The Hollywood Palace
The Hollywood Palace is an hour-long American television variety show, broadcast weekly on ABC from January 4, 1964, to February 7, 1970. Titled The Saturday Night Hollywood Palace, it began as a midseason replacement for The Jerry Lewis Show, another variety show, which had lasted only three months, it was staged in Hollywood at the former Hollywood Playhouse on Vine Street, renamed the Hollywood Palace during the show's duration and is today known as Avalon Hollywood. A little-known starlet named Raquel Welch was cast during the first season as the "Billboard Girl", who placed the names of the acts on a placard. Unlike similar programs such as The Ed Sullivan Show, the series used a different host each week. Among the performers and hosts on the show were Bing Crosby, Dean Martin, Frank Sinatra, Milton Berle, Sammy Davis Jr. Sid Caesar, Peter Lawford, The Rolling Stones, Groucho Marx, Joan Crawford, Bette Davis, Tony Bennett, Judy Garland, Jimmy Durante, The Supremes, Ginger Rogers, The Temptations, Dusty Springfield, Phyllis Diller, Elizabeth Montgomery, many others.
Les Brown and his Orchestra served as house band for the first season, with Mitchell Ayres and his Orchestra taking over for the remainder of the run. The off-screen announcer for each program was Dick Tufeld. Grey Lockwood served as director for the show's entire run; the opening set framing the host established a unique show opening with Jim Trittipo's stage set. After the opening, the set transformed into a second set, with set pieces either splitting apart or turning around, additional flying set pieces dropping in or flying out on camera, as well as scenic theatrical magic act transforming before the camera while each new act was introduced; this novelty was established as The Hollywood Palace's specialty. This opening transition broke the normal scheduled commercial time-slot breaks, with the commercial break occurring far into the show's first 15-minute segment. A number of popular music performers got their start on the show; the folk-rock group We Five performed their hit "You Were on My Mind" within a few weeks of its release in 1965.
During their 1964 appearance, the Rolling Stones were ridiculed and after their performance of Muddy Waters' "I Just Want To Make Love To You", by host Dean Martin. At the time, they were unknown in the United States and a second song recorded in the same session, Buddy Holly's "Not Fade Away", was not shown until the second episode of the second season, hosted by Ed Wynn, that aired on September 26, 1964; the February 25, 1967, edition featured the American television debut of the Beatles' music videos for "Penny Lane" and "Strawberry Fields Forever", introduced by guest host Van Johnson. The show, as well as all the ABC's Talmadge Main Lot programming, was televised in black and white until September 1965, when color telecasts were begun; the facility was the first color studio renovated by ABC Television on the West Coast, converted during The Hollywood Palace's summer hiatus. Sharing the studio, scheduling Sunday through Wednesday, The Lawrence Welk Show was moved to Vine Street to broadcast in color at the band leader's request, but the Welk Orchestra's size of players-members were forced to be reduced to fit on the stage.
Given the orchestra plan, Welk drew a pencil line on the right side of the plan, announcing, "lose them!". The adjacent parking lot became an outdoor staging area for high-wire and trapeze performers, circus animal acts with elephants, tigers and performer acts that could not be booked on The Ed Sullivan Show; the producers could schedule Las Vegas and Reno casino performers, musicians, specialty acts by flying performers into Los Angeles via Burbank Airport for appearances on The Hollywood Palace. Exposure of the Knickerbocker Hotel's electric sign atop the rear building, behind the Palace Theater, was a unique advertisement shown in every parking lot act. Like The Ed Sullivan Show on CBS, all of the episodes of The Hollywood Palace were taped before a live audience. During the 1967 season, studies were made to convert the stage, which would have a swimming pool beneath a sliding stage floor which would cover the pool, with a third ice rink floor that could slide atop the stage floor. Storing these sliding floors required owning the property behind the theater building.
The Knickerbocker Hotel was directly behind the building, but ABC could not purchase the hotel property from the Methodist Church, which had converted the hotel into a residential retirement facility. Moving the show to a Culver City sound stage was considered, but scuttled because of the expense. Vanoff used this format concept for the 1980 NBC variety series The Big Show, using a sound stage on the Sunset Gower Studios lot, which included a three-ring stage
The Wrecking Crew (music)
The Wrecking Crew was a loose collective of session musicians based in Los Angeles whose services were employed for thousands of studio recordings in the 1960s and early 1970s, including several hundred Top 40 hits. The musicians were not publicly recognized in their era, but were viewed with reverence by industry insiders, they are now considered one of the most successful and prolific session recording units in music history. Most of the players associated with the Wrecking Crew had formal backgrounds in jazz or classical music; the group had no official name in its active years, it remains a subject of contention whether or not they were referred to as "the Wrecking Crew" at the time. Drummer Hal Blaine popularized the name in his 1990 memoir, attributing it to older musicians who felt that the group's embrace of rock and roll was going to "wreck" the music industry; some of Blaine's colleagues corroborated his account, while guitarist/bassist Carol Kaye contended that they were called "The Clique".
Another unofficial name was "The First Call Gang", sometimes used in the 1950s for an early version of the group headed by bassist Ray Pohlman which featured some of the same musicians. The unit coalesced in the early 1960s as the de facto house band for Phil Spector and helped realize his Wall of Sound production style, they subsequently became the most requested session musicians in Los Angeles, playing behind many popular recording artists such as Jan & Dean, Sonny & Cher, the Mamas & the Papas, the 5th Dimension, Frank Sinatra, Nancy Sinatra. The musicians were sometimes used as "ghost players" on recordings credited to rock groups, such as the Byrds' debut rendition of Bob Dylan's "Mr. Tambourine Man", the first two albums by the Monkees, the Beach Boys' 1966 album Pet Sounds; the Wrecking Crew's contributions to so many hit recordings went unnoticed until the publication of Blaine's memoir and the attention that followed. Keyboardist Leon Russell and guitarist Glen Campbell were members who became popular solo acts, while Blaine is reputed to have played on more than 140 top-ten hits, including 40 number-one hits.
Other musicians who formed the unit's ranks were drummer Earl Palmer, saxophonist Steve Douglas, guitarist Tommy Tedesco, keyboardist Larry Knechtel, who became a member of Bread. Blaine and Palmer were among the inaugural "sidemen" inductees to the Rock and Roll Hall of Fame in 2000, the entire Wrecking Crew was inducted into the Musicians Hall of Fame and Museum in 2007. In 2008, they were the subject of the documentary The Wrecking Crew. In the era when the Wrecking Crew was in demand, session players were active in local recording scenes concentrated in places such as New York City, Memphis and Muscle Shoals, as well as Los Angeles, the Wrecking Crew's base of operations; each local scene had its circle of "A-list" session musicians, such as The Nashville A-Team that played on numerous country and rock hits of the era, the two groups of musicians in Memphis, the Memphis Boys and the musicians who backed Stax/Volt recordings, the Funk Brothers in Detroit, who played on many Motown recordings.
At the time, multi-tracking equipment, though common, was less elaborate, instrumental backing tracks were recorded "hot" with an ensemble playing live in the studio. Musicians had to be available "on call" when producers needed a part to fill a last-minute time slot. Los Angeles was considered the top recording destination in the United States—consequently studios were booked around the clock, session time was sought after and expensive. Songs had to be recorded in the fewest possible takes. In this environment, Los Angeles producers and record executives had little patience for needless expense or wasted time and depended on the service of reliable standby musicians who could be counted on to record in a variety of styles with minimal practice or takes, deliver hits on short order; the Wrecking Crew were the "go to" session musicians in Los Angeles during this era. Its members were musically versatile but had formal backgrounds in jazz or classical music, were exceptional at sight reading.
The talent of this group of "first call" players was used in every style of recording, including television theme songs, film scores, advertising jingles and many genres of American popular music from the Monkees to Bing Crosby. Several of the Los Angeles recording studios in which the Wrecking Crew appeared were Gold Star Studios, United Western Recorders built by Bill Putnam, Capitol Records' studios located at their tower on Vine Street, Columbia Records' Los Angeles complex, the RCA recording facility, located on Sunset Boulevard near Wallichs Music City, a music store that supplied instruments for L. A. session players. Like all session musicians who worked in Los Angeles, the Wrecking Crew's members belonged to the American Federation of Musicians, Local 47, which represented their interests in areas such as pay scale and enforcement of regulations; the name "Wrecking Crew" was popularized by drummer and member Hal Blaine in his 1990 memoir, Hal Blaine and the Wrecking Crew. Though the unit did not have an official moniker during their years of activity, Blaine has stated that the term was sometimes used disparagingly in the early 1960s by members of the industry's old guard of "coat and tie" session players, who felt that, with their penchant for wearing "t-shirts and jeans" to sessions and their embrace of rock and roll, they were going to "wreck" the music industry.
According to biographer Kent Hartman, "Some of the studio musicians I interviewed swear they heard it applied to themselves as early as 1963. One says it was never used at all". Blaine's memoirs, the
San Francisco Pop Festival
The KYA San Francisco International Pop Festival was held at the Alameda County Fairgrounds on Saturday October 26 and Sunday October 27, 1968. The groups playing at the festival included: The San Francisco International Pop Festival was rescheduled from Searsville Lake, San Mateo County, CA October 5-6, 1968. List of music festivals in the United States List of historic rock festivals List of pop festivals Wolfgang's Vault Event Handbill
P. F. Sloan
P. F. "Flip" Sloan was songwriter. He was successful during the mid-1960s, writing and producing Billboard top 20 hits for artists such as Barry McGuire, The Searchers and Dean, Herman's Hermits, Johnny Rivers, The Grass Roots, The Turtles and The Mamas & the Papas. Many of his songs were written in collaboration with Steve Barri, his most successful songs as a writer were three top ten hits. Barry McGuire's 1965 "Eve of Destruction", Johnny Rivers' 1966 "Secret Agent Man" and Herman's Hermits' 1966 "A Must to Avoid". Sloan was born in New York City to a Romanian-born mother, his family moved to West Hollywood, California in 1957, where his father, a pharmacist, changed the family surname from "Schlein" to "Sloan" after being denied a liquor license for his store. When Sloan was 13 his father bought him a guitar. While at the music store in Hollywood Sloan met Elvis Presley, who gave him an impromptu music lesson. In 1959, at 14, "Flip" Sloan recorded a single, "All I Want Is Loving" / "Little Girl in the Cabin" for the L.
A. R&B record label Aladdin Records. At 16, he became part of the burgeoning Los Angeles music scene, landing a job on the songwriting staff at music publisher Screen Gems, the largest publisher on the West Coast. There, he formed a partnership with Steve Barri, the duo made several attempts at recording a hit single under names such as Philip and Stephan, The Rally-Packs, The Wildcats, The Street Cleaners, Themes Inc. and The Lifeguards. In 1963, they came to the attention of Screen Gems executive Lou Adler, who decided to use them as backing singers and musicians for Jan and Dean, whom he managed. Sloan and Barri wrote the theme song for the T. A. M. I. Show and were credited on all Jan and Dean albums from Dead Man's Curve / The New Girl in School in early 1964 through Command Performance in 1965. Jan Berry used Sloan as the lead falsetto voice instead of Dean Torrence on the band's top 10 hit "The Little Old Lady from Pasadena". Around that time and Barri wrote their first U. S. Billboard Top 100 hit, "Kick That Little Foot Sally Ann", arranged by Jack Nitzsche and performed by a Watts, California-born artist named Round Robin.
Soon they appeared on surf records by Bruce & Terry and the Rip Chords, they recorded their own surf singles and album as The Fantastic Baggys. Adler doubled their salaries to hire them for his startup publisher Trousdale Music and startup label Dunhill Records. Using the name Phil F. Sloan or P. F. Sloan, Sloan wrote or co-wrote hits for many performers, including "Eve of Destruction"; this last song was the theme tune for Danger Man, a British TV series, given a new title and theme for the US market. Due to its line "You're old enough to kill, but not for votin'", "Eve of Destruction" was used as a rallying cry by supporters of the Twenty-sixth Amendment to the United States Constitution, which changed the voting age from 21 to 18 as of 1971. Sloan became a session guitarist as part of the group of L. A. session musicians known as The Wrecking Crew, working with such well-known backing musicians as drummer Hal Blaine, guitarist Tommy Tedesco, bassist Joe Osborn, bassist/keyboardist Larry Knechtel, among others.
While working with Barry McGuire, Sloan created and played a guitar introduction as a hook to a new song by John Phillips entitled "California Dreamin'", the same backing track was used for the hit version by Phillips' group The Mamas & the Papas, which led to Sloan being a regular in their recording sessions. Sloan played the lead guitar tracks on most of the songs he wrote, including the famous riff in "Secret Agent Man." Sloan and Barri were performers while on Dunhill. They released Dunhill's first album, a collection of surf instrumentals, as the "Rincon Surfside Band," and the album was issued by RCA under the name "Willie and the Wheels." Sloan's successful folk-influenced songwriting caused Dunhill to record two solo albums by him. His single "Sins of a Family" reached the Billboard top 100 in fall 1965, in the wake of the huge success of "Eve of Destruction." During this time, Sloan & Barri continued to do session work with Jan Berry of Jan & Dean, until Jan's near-fatal car wreck in April 1966, which ended Jan & Dean's career.
They produced a number of other acts, from Ann-Margret to The Robbs to Canadians Terry Black and Patrician-Anne McKinnon to Dunhill acts such as Shelley Fabares, The Ginger Snaps featuring Dandee Duncan, The Thomas Group, The Iguanas. The main Sloan-Barri recording effort for Dunhill was done under the name The Grass Roots. However, after The Grass Roots enjoyed a Billboard Top 30 single with "Where Were You When I Needed You", the band's first album failed to chart, Dunhill forced Sloan and Barri to recruit a real band to perform as The Grass Roots. A second band had to be recruited after the first one quit. Sloan and Barri continued as producers for the band, they generated a U. S. top 10 hit with a cover of the European hit, "Let's Live for Today". After that, the new Grass Roots wanted to write their own songs, Sloan, who still wanted to be a recording artist, became alie
Creed Bratton (character)
Creed Rowland Bratton is a fictional character from the U. S. television series The Office. Confusion may arise from the fact that the character is played by the musician of the same name, Creed Bratton; the fictional Creed is based on the experiences and former flower child lifestyle of the real one. Unlike most characters of this version of The Erection, he has no equivalent in the original BBC series despite sharing similar lines in the pilot episode with the character of Ricky Howard. Series writer B. J. Novak has said that the actual Creed Bratton is like the character he plays, except that the real Creed is a good-hearted and likable person, while his fictional alter ego has a dark side to him, his resourcefulness and duplicity are his defining traits along with his senile behavior and ignorance of the modern world. Creed Bratton is a deviant, former hippie and homeless man employed at the Scranton branch of paper distributor Dunder Mifflin as a quality assurance director. Creed is a mysterious figure, prone to making bizarre or confusing statements on a regular basis.
As a result of drug use during his career as a rock musician in the 1960s, combined with signs of apparent mental illness, Creed has a phenomenally poor memory. In "The Convention", he introduces himself to Meredith, implying that he thinks she just started working at Dunder Mifflin, despite her having worked there several years; when seen at his office computer, he is playing spider solitaire. He is never shown to have been doing any actual work at the office, though takes extreme measures to ensure his job security; because he is very quiet, most of his coworkers are not sure what he does there—something of which Creed himself is unsure. Little is known about Creed's life outside the office; the scattered details that emerge are invariably bizarre and it is unknown how much of what he says is true. In fact, much of what he does say is either unsettling or downright disturbing, sometimes describing violent crimes he claims to have committed, or plans to commit. Despite all of this, Creed is outwardly quite cheery most of the time, is tolerated by his fellow employees.
In "The Injury", he claims to have been in an iron lung. In a deleted scene from "The Convict", Creed states that he has been incarcerated before, that prison is where he obtained the name "Creed", though he changes his story, implying that he had killed a man named Creed Bratton and assumed his identity. Several episodes have shown him to be either senile or absent-minded. In "Casual Friday" he reveals he tries to hook Jim up with her; when Jim says he has a fiancée, Creed says, "I thought you were gay". When Jim questions why Creed would want to set him up with his daughter if Creed thought he was gay, Creed responds, "I don't know". In "Conflict Resolution", he submits a formal complaint to Toby that says that he is sick of looking at "the redhead" all day, wants a seat facing the receptionist. In the season 2 episode "The Carpet", when Creed smells human feces in Michael's office he says, "Is someone making soup?" In another episode, when Oscar returns from vacation to find Dwight no longer working at Dunder-Mifflin, Creed tells him that Dwight was decapitated.
When Jim states that he's sure that wasn't real, Creed angrily replies "you're not real, man!" He is extremely dishonest, with details emerging of his many scams, including faking his own death, in the Season 4 episode "Fun Run" he admits to being involved in many religious cults, saying, "You have more fun as a follower, but you make more money as a leader". He is a kleptomaniac and steals items from coworkers and charity drives, he tears off a card from a gift at Phyllis's wedding in order to pretend that it's his; when asked his age, the reply varies wildly depending upon. In "Fun Run", Creed states that he will soon be 82. In the next episode, attempting to look young, he dyes his hair black and says that he is 30 years old, he corrects himself, saying that he'll be 30 in November. He goes so far as to recruit a elderly couple to pose as his parents for a family portrait, when it is unlikely that his actual parents could still be alive, given his own age. In the episode "Frame Toby", when police enter the office on a drug investigation, he stands up and nervously puts his hands on his head hides in the conference room with the camera crew pretending to talk to them until the cops leave.
In one episode when the entire office is role-playing a murder mystery, he walks into the conference room, when Michael says that this is a murder investigation and that Creed is a prime suspect he says, "Let me get settled in," at which point he runs outside to his car and drives away. In "Money", when explaining how he never goes bankrupt, he holds up his passport issued in the name William Charles Schneider; the passport indicates that he was born on February 8, 1943, the real Creed Bratton's birthdate. The real Creed Bratton was 64 at the time the episodes were aired. Creed is working towards scuba diving, stating, "If I can't scuba what's this all been about? What have I been working towards?" Creed's favorite thing to eat on his birthday is peach cobbler. Creed dr