As HD is a new experience, I find that I surf for shows to look at rather than watch.
I didn’t even know we had the Game Show Network, but when I saw The $25,000 Pyramid listed as I scrolled through the channel guide and couldn’t help but be curious as to what a game show from the 1970s might look like in HD.
I tried the channel and the sight of Nipsey Russell and Vickie Lawrence bantering with host Dick Clark materialized from the pixels.
The show used to air in the mornings on weekdays, so I’d only see it on rare occasion during the school years, the handfuls of days off for snow, sickness, or holidays.
During the summer, The $25,000 Pyramid was more regularly viewed. As I watched the show for the first time in thirtyplus years, I couldn’t help but think that, at that time, it was as educational as portions of our actual educational system.
(I undoubtedly learned new words and it stimulated creative thinking)
And, in a world with far less media and far more mystique, The $25,000 Pyramid provided a chance to see television actors outside their usual time-slotted habitats.
Loretta Swit, whose name I’d read during the opening credits of M*A*S*H, was truly a real person and Margaret Houlihan was truly fictitious.
The show was likely my introduction to Dick Clark as I don’t recall American Bandstand airing in our locale. By the end of the ’70s, I’d know Clark for his New Year’s Eve countdown.
In the early ’80s, not long after I discovered Casey Kasem counting down hit songs on American Top 40, I would come across Dick Clark doing the same on The Dick Clark National Music Survey.
Where as Casey’s program aired on several stations, regularly, Clark’s show seemed to only be broadcast on one station, erratically, on late Sunday afternoons. It also used the record charts published by Cashbox as opposed to Casey’s use of Billboard.
Not being familiar with either publication, I recall being puzzled as to the differences between where songs would end up on each countdown, but, probably because it aired on more stations, I assumed Casey’s take was more “real.”
Here are four songs that I might have heard listening to either Casey Kasem or Dick Clark count down the hits during this week in 1983…
The Clash – Rock The Casbah
from Combat Rock (1982)
There were a lot of acts that previously had not achieved a lot of mainstream radio success making waves in early 1983. Though The Clash had notched a Top 40 hit a few years earlier with Train In Vain, the legendary punk band was having their greatest commercial success at the time with the übercool Rock The Casbah.
Though I knew The Clash by name, I had never heard their music prior to Rock The Casbah. It would be over the next few years – and thanks to the passion my buddy Streuss had for the band – that I would discover what all the fuss was over “the only band that matters.”
ABC – The Look Of Love (Part One)
from The Lexicon Of Love (1982)
ABC’s debut The Lexicon Of Love is widely regarded as a classic ’80s album. It wasn’t as wildly popular in the US as it was in the UK, but The Look Of Love and Poison Arrow got played on even the most pedestrian of Top 40 stations which I was listening to at the time.
Musical Youth – Pass The Dutchie
from The Youth Of Today (1982)
Growing up in the lily-white Midwest of the US, reggae didn’t exist. I might have known the name Bob Marley, but it would have only been from perusing Rolling Stone.
The teenaged quintet Musical Youth managed to notch a Top Ten pop hit in America with the pop-reggae of Pass The Dutchie, but had it not been for listening to countdown programs on the radio, I would have never heard the song. It might have been a sizeable hit, but it was one that I never heard on the stations to which I was listening.
In fact, the only Musical Youth that I ever heard on the radio during that period was the song 007 -which was largely ignored – from the group’s follow-up album to The Youth Of Today when 97X went on the air toward the end of ’83.
Christopher Cross – All Right
from Another Page (1983)
Like most of my friends at the time, I embraced much of the new music – New wave and synthesizer bands – that was arriving from the UK. I also maintained an interest in the more traditional pop music I was hearing on the radio. I didn’t make much of a differentiation.
It was all just music and I had a curiousity about most of it.
Christopher Cross had taken three years between his debut and follow-up album – a ridiculously long period at the time. I had made Cross’ mega-successful debut the first album I had ever purchased, but during that hiatus, not only did the rest of the world move on, but I made the quantum leap from twelve to fifteen which is twenty-one years in dog years and during that time I, like the rest of world, came to he startling realization that flamingos and rock and roll don’t mix.
Twenty-five years later, I find All Right to be pleasant enough, though.