Hotel and Restaurant Menus of the 1850s and 1860s

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The Scopitone and Cinebox

An American Scopitone 450 jukebox. Image: Scopitone Archive

The Scopitone and Cinebox (later renamed Colorama) were early 1960s "video jukeboxes". Introduced in America in 1964, they were popular for a few years, growing to a peak of Scopitones in 800 locations in 1966. Then they vanished by the end of the decade.

Although not the first of it's kind (there are mechanical and human assisted, silent and black and white examples of coin operated on-demand movie systems going back to the early 1900s, including the 1940s Panoram and the notorious "peep-show" private viewers), the Scopitone and Cinebox were different in that they were all electric, had sound and they were in colour.

They played 2-3 minute musical shorts on 16mm film reels. An early MTV of it's day. New titles came out at the rate of four per month.

Actress Joi Lansing made Scopitone's most famous (and cheesiest) film "The Web Of Love" in 1965.

One distinctive thing about Scopitone films were most of the musical numbers all had girls (and some guys) doing go-go dancing of some sort.

They were invented in Europe. First the Scopitone in France and it's similar rival, the Cinebox in Italy where they became wildly successful. The Cinebox came to America first in 1963 and was quickly followed by the Scopitone. However, the Scopitone instantly created a media buzz and a fad in countless cocktail lounges and public waiting areas in the mid 1960s.

One early investor in Scopitone's American division was actress Debbie Reynolds.

Restaurant and lounge owners quickly signed up after reading the salesman's brochure. It really looked like The Next Big Thing.

Scopitone promotional banner

For a quarter, you got to see some American stars (such as Bobby Vee and Neil Sedaka.) But also a lot of unknown British and European stars stateside. This would eventually become the Achilles heel of both systems. Scopitone first arrived with only French films. They scrambled to put together an American library of music. But sadly, there were no really BIG names, like The Beatles. 

(Warning: "Fiesta Hippie", although tame by today's standards may still be NSFW.)

Another is Scopitone was mentioned in a federal investigation into organized crime. Fearing a scandal that involves The Mob, many businesses canceled their Scopitone services and returned the machines.

Scopitone film was also on small reels that automatically loaded into the projector.....sometimes. They were notorious for malfunctioning and service was called. Often. A night of heavy use meant a call to the serviceman tomorrow. Many Scopitone machines were only known by patrons/customers as that weird thing in the corner with an Out of Order sign on it. 

A Scopitone can hold up to 36 reels of film

But perhaps more than anything else, it was the Scopitone's distributors who failed to tap into the rock 'n roll craze and youth culture of the '60s which could have ultimately saved it. Instead, it was coin-op entertainment for mostly middle of the road adults who really didn't need it.

Procol Harum's 1968 hit "A Whiter Shade Of Pale" was the only known rock song available on Scopitone. There was never a release for the Cinebox.

The Scopitone was largely gone by 1970 in America. However, there were still new Scopitone films made, albeit in France. The last known Scopitone film was made in 1978. The old Scopitone projectors were mostly junked, although some were converted into peep show systems for X rated adult film arcades. Only a handful were preserved and are now mostly in museums and private collections.

It's Italian rival, the Cinebox (later renamed Colorama) was actually introduced to America earlier than the Scopitone (1963). Like the Scopitone, it had a very limited American catalog, but LOTS of Italian musical acts.



It too had a short life in America and in spite of being the first video jukebox in America, arriving months before the Scopitone. It was eclipsed by Scopitone's promotional machine, rendering Cinebox as an also-ran to Scopitone. And when the ax fell at Scopitone over the alleged Mob associations, Cinebox also felt it. The public felt like these machines were just tools of the Mob in spite of Cinebox never being involved with that in any way. Besides, neither Scopitone or Cinebox were very profitable overall.

Cinebox also ended it's American distribution and folded completely in 1978.

More on The Scopitone and Cinebox:

Scopitone Archive (Has information on both the Scopitone and Cinebox as well as the Color-Sonic system.)

Scopitones

Scopitone (Wikipedia entry)

Cinebox (Wikipedia entry)

Kitschy Scopitone jukebox brought the jams before MTV

Kellogg's Kream Krunch Cereal

Ad copy above reads  "Now - Ice Cream in a nourishing cereal. Crisp chunks of real ice cream (freeze-dried) right in with the good grain. The kids won't believe it. (Maybe you won't either!) But thanks to freeze-drying, we've taken the cold out of ice cream, made it crisp and crunch, so it keeps without refrigeration right in a package of cereal. And what a cereal! A crisp, nourishing blend of hearty corn, wheat and oats that's a treat by itself. With the ice cream it's... well taste it see for yourself. At your grocer's now."

It really seemed like a good idea.

If anything gets the kids bugging their parents to the point of insanity in the cereal aisle, it's a cereal that contains something they really like. Raisins? Yuk. What kid really liked raisins in anything?

And all kids love ice cream. Especially that then-new freeze-dried space ice cream the astronauts get to eat that everyone on TV was talking about back then.

Soooooo, Kellogg's executives thought they had a winner in their new cereal, Kream Krunch. It was a Cheerios type cereal with bits of freeze dried ice cream in Strawberry, Vanilla and Orange flavours (though surprisingly, Kream Krunch didn't have a chocolate flavour.)

But ice cream for breakfast...Was America an awesome place in 1965 or what?

And it really did sound good.....But that's as far as Kream Krunch got. The flipside was the freeze-dried ice cream melted into a super gross, sticky goo after sitting in milk for a few minutes, so you had to eat it fast or without milk. (I eat my cereal dry with a glass of milk on the side to wash it down - That's how passionately I hate soggy cereal.)

Parents complained to Kellogg's, demanding refunds because when the freeze dried ice cream melted, kids would stop eating the cereal. And soon, they wouldn't touch the box at all and it would have to be thrown out. Kream Krunch was discontinued in 1966. And Kellogg's (or any other cereal company) never attempted another freeze-dried ice cream cereal.

A Free Stimu From Dr. Hook (Free 1975 Promo 45)

A lost early sampler for Dr. Hook's 1975 LP Bankrupt. This was a free giveaway on record store counters to demonstrate the LP to potential buyers.

Bankrupt was Dr. Hook's first LP on Capitol Records. With their name shortened to simply "Dr. Hook" from the clunkier "Doctor Hook & The Medicine Show". The album contained their hits "Only Sixteen" (a cover of the Sam Cooke classic ) and "I Got Stoned And I Missed It."

Album & single images: Discogs

 

Black Rose: Cher's Lost Rock Album

Black Rose was a rock group Cher sang lead vocals for. Most people and many of Cher's own fans aren't even aware of this album because it's never listed amongst most Cher discographies. And for collectors, it's a holy grail to find the original 1980 Casablanca vinyl release with record, jacket and sleeve in pristine condition. Only 400,000 copies were sold worldwide.

In 1980, Cher was romantically involved with rock guitarist Les Dudek and this led to the musical collaboration that became Black Rose. Cher had just released two disco records for Casablanca in 1979, Take Me Home and Prisoner. But Black Rose was different. It wasn't disco, it was actually something closer to a mainstream rock album for that time.

On the album, Cher sang vocals, but only appeared in a group photo on the back of the LP.

She was not even mentioned on the cover. Cher and Dudek were conscientiously trying to avoid the spotlight on Cher and make Black Rose a group effort rather than just another solo Cher album.

In spite of Cher's incredible network of connections in Hollywood that could have INSTANTLY made them nationally famous stars, Black Rose took the high road, playing gigs at smaller LA nightclubs. Everything the hard way.

Well, almost everything. They got an A-list team of songwriters, such as David Foster, Valarie Carter, Bernie Taupin, Mike Chapman, Carole Bayer-Sager, Vinnie Poncia and Allee Willis. As well as a deal with the one of the biggest record labels in the world at that time. The other members in Black Rose were seasoned LA session musicians. With side help from members of Toto (who would also appear on Cher's later '80s albums.)

The music was very well produced for it's time, as you could imagine. In fact, it was overproduced really. No catchy hooks. Everything really sounds forced to it's limits.

And comically beyond, as Cher's vocals on "Never Should've Started" painfully prove. It was the first single from the album and it was largely ignored by the radio.

         


But the new sound was alienating to her '60s and '70s pop fans as well as her disco era fans. Some critics thought they were trying to clone Blondie. And that Cher's voice was unsuited to the material she was singing. She went an a small tour to promote the album as The Black Rose Show.

It was darn nigh impossible for women in rock in the 70s. There wasn't a mold if you were a woman and you were in the entertainment in the 70s. You were probably a disco diva or a folk singer, or simply ornamental. Radio would play only one woman per hour.
Read more at: http://www.azquotes.com/quote/903004

It was darn nigh impossible for women in rock in the 70s. There wasn't a mold if you were a woman and you were in the entertainment in the 70s. You were probably a disco diva or a folk singer, or simply ornamental. Radio would play only one woman per hour.
Read more at: http://www.azquotes.com/quote/903004

It was darn nigh impossible for women in rock in the '70s. There wasn't a mold if you were a woman and you were in the entertainment in the '70s. You were probably a disco diva or a folk singer, or simply ornamental. Radio would play only one woman per hour.
Read more at: http://www.brainyquote.com/quotes/quotes/a/annwilson412555.html

It was darn nigh impossible for women in rock in the '70s. There wasn't a mold if you were a woman and you were in the entertainment in the '70s. You were probably a disco diva or a folk singer, or simply ornamental. Radio would play only one woman per hour.
Read more at: http://www.brainyquote.com/quotes/authors/a/ann_wilson.html

It was darn nigh impossible for women in rock in the '70s. There wasn't a mold if you were a woman and you were in the entertainment in the '70s. You were probably a disco diva or a folk singer, or simply ornamental. Radio would play only one woman per hour.
Read more at: http://www.brainyquote.com/quotes/authors/a/ann_wilson.html

But sales of Black Rose were still very low and copies of the LP could be found in the cut-out budget bins at your local record store nine months after it's release for $1.99.

Cher ended Black Rose in 1981.

"You Are Everything" Judas Priest (Unreleased 1988 Demo Snippets)

If there was one set of producers, one band and one song you would have absolutely never made any connection with whatsoever in 1988, it's Stock, Aitken & Waterman, Judas Priest and The Stylistics 1971 hit "You Are Everything".

For those not aware of Stock, Aitken & Waterman, they were the legendary '80s producers of similar sounding UK pop hits-by-numbers. Including Bananarama, Kim Wilde, Rick Astley, Kylie Minogue and Sonia

You couldn't get any more polar opposite musically if you tried. To say nothing of a heavy metal cover version of a '70s soul masterpiece.

But although these are fragments of an unreleased demo, this is actually pretty damn good. Judas Priest did it right. Faithful to the Stylistics original (you don't want to screw with a classic.) But carefully arranged for a metal power ballad. 

SA&W kept the drum machines and synthesizers in check. They knew what song this was and what band they were dealing with. The band also recorded some also as yet unreleased original songs from this session. But the band says it's unlikely the whole songs will surface 

Judas Priest guitarist Glenn Tipton also recorded guitar solos for a Stock, Aitken & Waterman produced artist, Samantha Fox, and was credited on her 1991 track "Spirit of America".

Read more about it in the Blabbermouth article here.

1930s Traveling Movie Theater

                                             (Click on photos to enlarge)

The Star Wars Holiday TV Special

Watch here.

"Christmas In Japan" Paul Anka (1960)

"Killing Me Softly With His Song" Lori Lieberman (1972)

This song may be best known as Roberta Flack's signature song, but this was the original version of it, released a year before Roberta Flack's version became one of the biggest hits of 1973.


Now there's two utterly different stories on the origins of this song.  

Lori Lieberman claimed she was inspired to write the song after watching a Don McLean concert. When he sang "Empty Chairs", she was so moved by his performance that the next day, she told her songwriting partners Norman Gimbel and Charles Fox, who then composed the song.

Gimbel and Fox however contended that the song was inspired by an Argentinian novel. Hopscotch by Julio Cortázar. In Chapter 2, the principal character describes himself as sitting in a bar listening to an American pianist friend 'kill us softly with some 'blues'. Gimbel put it in his 'idea' book for use for later with a parenthesis around the word 'blues' and substituted the word 'song' instead.   

However, the dispute was settled when a New York Daily News interview article from 1973 was unearthed with Gimbel admitting that Lieberman's story had indeed inspired the song.

The song was revived in 1996 by the hip-hop group The Fugees, reaching #2 that year and the Plain White T's recorded a version in 2008.

LSD: The Album

"Please Don't Ask Me To Go Away/With Every Beat of My Heart" Shawn (1971)

It's like this; You remember an old record and you finally drop everything and go on a mission.

The record in question came to our family in a box of 45s my uncle gave my mom. He worked for an amusement company which serviced jukeboxes. Every now and then, he'd bring us a box of random 45s. There were a few well worn hits ("Ode To Billie Joe" Bobbie Gentry, "I Love You" by People) and a few lesser Jeannie C. Riley and Otis Redding songs. But one 45 in particular stuck out.

It was a single released on Kapp Records in September of 1971 at the peak of the Donny Osmond craze shortly after he struck teenybopper gold with his cover version of Steve Lawrence's "Go Away Little Girl".

The artist was someone (or some group) named Shawn. Who this monosyllabic Shawn was is completely unknown as far as verifiability goes. I simply hit dead ends everywhere I go trying to track down any deeper session information.

The A-Side was an answer song to "Go Away Little Girl", titled "Please Don't Ask Me To Go Away"

The B-Side was also a cover version. "With Every Beat of My Heart", which was probably better known as a 1970 song from Josie & The Pussycats.

Both of the Shawn songs had some popularity, the novelty A-side of course. But Shawn's B-side cover of "With Every Beat of My Heart" appeared on the 1995 Varese Sarabande compilation CD Bubblegum Classics Volume Two.

The A-Side, "Please Don't Ask Me To Go Away", remains available only on the original Kapp 45.

From the number of these Shawn singles with holes drilled in the label area, which is nearly every copy I have ever seen, it didn't do very well in sales as most "answer songs" tend not to. Drilling holes in the 45 RPM label area or cutting a corner of an album was a practice amongst record labels with returned stock of records that didn't sell initially to prevent retailers from reselling them at full price. These records were what occupied the "cut-out" or "budget bins" for $2.98 or lower in record shops.

But a look at the credits on the single reveals two important clues; Producer Danny Janssen and arranger Jimmie Haskell. Janssen had produced the original Josie & The Pussycats album and was the producer of several early '70s TV based pop acts including The Partridge Family and The Brady Bunch LPs. Jimmie Haskell was a pop arranger, best known for his TV work as well as with '60s pop band The Grass Roots. He also arranged horns and strings on Blondie's Autoamerican album.


It was pretty much a one-off novelty single to cash in a pop fad as "Go Away Little Girl" was one of the biggest hits of 1971.

Shawn never had a follow-up single or released a full album. And was never heard from again.