🌞 🌇 🎂 Happy 50th to “The Mary Tyler Moore Show” From Out Here In CoronaLand 🌞

Love is all around.   And, unfortunately, so is a highly contagious virus.  The emergence of COVID-19 has understandably triggered a necessary suspension of most social activities as we know them, regardless of sentimental or historical significance.  Clearly, safety must trump (pun maybe intended) convenience, ergo several monumental milestones have become frozen on the pause button of 2020, including that of a beloved Minneapolis news crew.  

‘The Mary Tyler Moore Show’ celebrates its 50th Anniversary this month - September 19th to be exact.  The 1970’s sitcom about a girl who can turn the world on with her smile, as fate would have it, hits the half century mark in a year stained by a worldwide pandemic, social unrest, and political strife of measures arguably never before witnessed.   While Zoom and social media platforms could surely facilitate virtual honors to the gang at WJM-TV, this semi-centennial might very well pass discreetly.  However, any celebration, as muted as it may be, brings to light some new revelations and understandings about the MTM legacy in our current world.  

If 2020 can claim a good chunk of social turbulence, then 1970 swiftly emerges - and perhaps surpasses - as a worthy competitor.  Through the 21-inch screen of a Zenith color console, the crew tackled some of these issues, Mary Richards-style, with humor and candor.  A Season 3 episode featuring the coming out of Phyllis’s homosexual brother is highlighted by the characters’ instant and unconditional acceptance.  A 1972 script portrays Mary’s anger and disgust over the anti-Semitic policies of a country club towards best pal Rhoda Morgenstern.  Even uncontrollable funeral laughter provided one of the series most comedic moments, in “Chuckles Bites the Dust.”  Mary and company never backed down from any wonderful, messy topic that might be thrown their way.  Yet, they did so with such frank realism, viewers felt as though they were visiting old friends.  Pertinent issues were not patronizingly addressed as “very special episodes,” but rather pragmatic depictions of life and its humorous idiosyncrasies.   Should it be any surprise that the March start of Corona-lockdown found the Twin City’s famous Mary Richards statue sporting a protective mask and pair of gloves?  Perhaps the TV gods are reminding us that hardship goes down best with a spoonful of sugar and a bit of a laugh?  (For the record, every colorful bandanna I see as a face covering, reminds me of what I believe Rhoda would wear as PPE ;)

Further special awareness quietly emerges of another obvious MTM connection to society today.  Injecting a dose of sad irony, is the significance of the show’s setting of Minneapolis.  The snowy burg, hometown to the Mall of America and pop legend Prince, has now become linked to a tragic incident in our American heritage.   Civil rights and racism will always be topics of importance and urgency, albeit sometimes distressing to discuss.   They must be examined though, with candor and compassion.  And while the marches and rallies of 2020 occurred a few decades after Lou and the crew bid farewell to one another, one can’t help but speculate that good spirits are infusing the most daunting of our current obstacles with hope. 

For the past 6 months, America has sustained on a steady quarantine diet of comfort food and comfort TV, getting us through anxiety and uncertainty about our new normal.  A situation comedy about a working girl “making it on her own”, that spawned 3 spin-offs and oodles of Emmys, can now add instrument of solace to its list of accomplishments.  Not only is ‘The Mary Tyler Moore Show’ revolutionary in its own right, but also an instant remedy for any situational unease.  Its soft haze creates a cozy tranquility, and the good nature of its content creates some hope that we might just make it after all.... :)

Dan Fogelberg's Having a Blue Christmas: "Same Old Lang Syne" (1980) 🎅🎄🎉💙🌟🥰
By
Claudia Walrad

  There's a restaurant my family frequents that I have affectionately dubbed the "Yacht Rock Restaurant," because they seem to always play the reassuring soft rock music of the 70's and 80's that I associate with the comfort of being a little kid (one can only imagine my delight at the soundtrack from Anchorman 2 ;)  The holiday season is a particularly warm and nostalgic time to dine at this eatery because of these very song choices.  I'm instantly brought back to the holidays when VH1 would play nonstop videos on Christmas Eve of Hall and Oates dancing to "Jingle Bell Rock," a bunch of celebrities asking "Do They Know It's Christmas" (never quite understood a few of those lyrics until I looked them up), and of course Bing Crosby dueting with Ziggy Stardust in matching cardigans.  However, there's one song that always brings about emotion in me, that ironically, I never knew the name of until fairly recently, and doesn't really have a whole lot to do with Christmas.

I had recognized Dan Fogelberg's "Same Old Lang Syne" being played every year on familiar radio stations, but hadn't listened to the lyrics particularly closely or known its backstory.  I eventually realized that the gentle voice of the song was the same one that belonged to 70's hits such as "Longer" and "Leader of the Band' but hadn't quite made the connection to its status as a sentimental favorite holiday tune.  The narrative of a special meeting on a Christmas Eve, for some reason evokes a very real sense of nostalgic ache.  I don't know of an official music video or performance that accompanies the song, but it almost seems superfluous to have one.  The lyrics and melody effectively paint a picture on their own.

My discovery that the song is actually autobiographical didn't surprise me at all.  It seems too genuine and heartfelt to be fiction.  As the story goes, a last minute errand to pick up egg nog during the holiday season of 1975, resulted in a surprise encounter with a former love.  Five years later as said friend first heard Fogelberg's single on the airwaves, she instantly recalled their meeting in hometown Peoria as the song's inspiration.   

Fogelberg revealed to American Songwriter that his 1981 release "The Innocent Age," on which Same Old Lang Syne appears, is a personal favorite of his catalog of work.  Considering he cites Joni Mitchell's "Blue" as an important influence in his songwriting, the pensive element to his work makes a great deal of sense.  Although to fans of his work, this emotional component need not be explained - simply felt and enjoyed.

Needless to say, "Same Old Lang Syne" has become a favorite of mine.....the gentle stir it evokes is wistful and longing in a familiar, comfortable way.  It seems almost improper while listening to a song as emotive as it to try and dissect its form or lyrical organization. However, I cannot help but notice the symbolism of the last line as pointed out recently by my Dad.  "The snow turned into rain" must mean *tears.*  I can't think of a more appropriate note to end on, Mr. Fogelberg.......;)

📺🥰🎥 The “Swit” Life: Lessons Learned From a TV Icon 📺🥰🎥

For all us kids of the 80's and 90's, the cherished stay-home-with-sniffles days, were marked by game shows - those daytime TV treasures that school hours robbed of you before the invention of the DVR.  The reassuring presence of sitcom stars and comedians, like old friends, was as effective and soothing a lozenge as any medicine.  What may have gone unnoticed, however, from that Nyquil/Kool-Aid haze, was the prowess with which some celebrities, notably Loretta Swit, were able to assist contestants in earning winnings.  That's right, Hot Lips Houlihan herself not only redefined the image of a woman in uniform, but also most likely helped many a Valley housewife fund a college education - two feats of equal importance.

"I was told that I held the world's record for giving the most money to contestants on the Pyramid Show.  You play for their money. You're trying to help them win.  I enjoyed it."

Curious it may seem that this little known footnote in a career honored with the prestigious Icon Award at this year's Oscars, is what floats to the top of my thoughts from a thoroughly enjoyable phone chat with Ms. Swit.  However, I find this gem of trivia to be accurately symbolic of a professional vocation that's spanned over 5 decades, and has mirrored in philanthropy what it has achieved in entertainment. 

Fittingly, the role of a nurse - a giver, a caretaker, a nurturer - is what made a household name of the actress who has championed humane rights for animals, respect for veterans, and art of substance and value.  While MASH has ensured that Hot Lips Houlihan will forever be etched into our pop culture vernacular, the humanitarian efforts of Loretta Swit have forged their own path of identity.  Her pride in inspiring generations of future nurses, equals the joy in her membership to that iconic family of the 4077 - recently reunited for Alan Alda's Clear and Vivid Podcast.

"People are playing it three and four times.....it really tickles me," Swit laughs.

The myriads of fans are the ones tickled pink to celebrate MASH - a show about the horrors of war that ironically, gives a sense of comfort and security to so many of us.  Perhaps intuition alerts us that goodness and compassion infuse the aura of the 4077, both on and off screen.

The memoirs of Major Margaret Houlihan could surely fill an entire journalistic piece, but this article veers in a different direction - specifically back to the $10,000 Pyramid.  Somehow, the image of Swit excitedly encouraging a contestant with creative clues in the "winner's circle," shaped the lens through which I digested the information of the interview.  Mr. Rogers once said to always look for the "helpers" in life, and like her on-screen persona, Loretta Swit is a helper.  Whether rallying for a notable cause, or contributing work of substance and value, Swit has designed a life blueprint of utilizing her innate talents for good.

"Celebrity has a certain outreach....if you can use that celebrity to make good changes, it gives you an opportunity to make something out of the fame. These are things I've believed in all my life."

An accomplished painter, she married her artistic gifts with an unyielding devotion to animals, releasing SwitHeart: The Watercolour Artistry & Animal Activism of Loretta Swit.

"It's a lifelong calling and all of the proceeds go to my charity, SwitHeart Animal Alliance."

The soft watercolors whose eyes breathe with life and emotion, capture perfectly her affinity for these creatures, domestic and wild. In addition to this charitable endeavor, numerous other animal organizations have benefited from Swit's support.   Yes, Radar would be proud to have company as the 4077 champion of all critters big and small, just as Switis quick to sing the praises of co-star Gary Burghoff, as both an actor and painter.

"He focused on birds and some of his work was really gorgeous," Swit compliments.

The lifelong relationships with her MASH family aren't the only bonds of incredible meaning that the series has etched in Swit's life.  As an ambassador for veterans, she has found a calling to educate, encourage appreciation of, and provide solace to those invisible wounds carried by the men and women who have served our country.  In addition to her endorsement of events such as the Honor Flight, Swit narrated the 2013 documentary, "Never the Same," entailing the experiences of WWII Prisoners of War.

"I'm an honorary descendant of the POW's.  They have given me that honor," the actress affirms with a genuine reverence.

The pride and responsibility that comes with such a privilege is not at all oblivious to Swit.  Her steadfast allegiance to this often underappreciated population permeates her consciousness.

"I'm a fanatic about going up to anyone in uniform in an airport and hugging them.  We all need to put that as part of our mindset.  I thank you....I thank you from the bottom of my heart."

And rightfully so.  Starring in a show about the Korean War, airing during the Vietnam War, Swit is readily cognizant of the silence and disregard that so many servicemen endured, particularly during these time periods.

"It's okay if you do not want to remember the war.  You cannot, however, forget those who served," Swit emphasizes, while acknowledging a positive shift that has occurred over time.   "It has gotten better, but the bottom line is, there is no way we can ever repay them for their sacrifice.  Forgive us if we are not able to thank them enough. It is not possible."

The distress of this impossibility is eclipsed by the hope of transformation.  However, the winds of change are a bittersweet pill to swallow.  Ideals represented by heroes of The Greatest Generation have adapted to our cyber-centered society.

"Technology has evolved us in a direction....We've lost and we've won.  We've got progress but we've also surrendered certain things."

And how....everything from the art of letter writing to the charm of a simple telephone call falls in danger of becoming obsolete. Principles and messages absorbed through entertainment also reflect this evolution, making Swit's adherence to the value of meaningful art all the more important. 

"If the public is watching junk food, they're making that choice. We also have things on the tube that are interesting and relevant. It will tell us about our society to see, are we watching the stuff that is good?  There's good stuff to be had.  The audience is in control and I have faith in the audience."

Like her most famous on-screen persona, Swit's candor and commitment to her beliefs are evident.

"What value is this to a young mind?," she ponders.

A seasonal piece taken on by Swit in the early 1980's holds significant sentimental value with many a young mind.  The Best Christmas Pageant Ever, in which Swit plays a mother coerced into directing her church's Nativity Story, is an experience that she recalls as "wonderful."

"It was very well done. A good director, the kids were wonderful.  It was a labor of love.  Still today, I'm given quotes.  It was such a charming idea, a very moral, very wonderful story. I loved it."

Swit's fond recollections on the uplifting holiday tale about a group of ragamuffins, fosters hope and encouragement in more ways than one.  Our inner child's optimist can be reassured that what we find so heartening was a shared experience with the players as well. 

Heartening.....perhaps the best adjective to encapsulate my sentiments from a conversation with a professional who uses their fame as a platform for good. The fact that this familiar face is a TV presence since childhood is the sentimental icing on the cake.  An additional comfort, on a more personal note, came with some lovely words of encouragement given to me by Ms. Swit on the passing of my Grandma and Miniature Apricot Poodle, both of which occurred just days before.  Commenting on what a marvelous legacy my Grandma gave to me, and reassuring me that my dog, Emmy's age of 19, is a reflection on the love I gave to her, greatly eased my worries.

Yes, the talents of Loretta Swithave held a high professional esteem of which we're all aware. Her reputation of benevolence and humanity is something of which we should all make ourselves aware, and follow as example.  If that's not “switheartening,” then I don't know what is 🥰!

🎃👻🤩 Happy Birthday Halloween! You Make 40 Look Bad-Ass 🎃👻🤩

 “The Big 4-0” somewhere along the line, earned unfortunate historical connotations, splashed across every birthday item from gag gifts to greeting cards.  Luckily, such antiquated ideology made its way out with the watusi, but traces of these outdated beliefs still remain.  How deliciously ironic that one of the benchmark films for the “ladies-in-peril” genre, commemorates it’s 40th with one kick-ass cinematic celebration of female empowerment that would make any Spice Girl proud.  The much anticipated, brand spanking new Halloween sequel, which opens this weekend, revisits some familiar elements in a framework that’s surprisingly relevant from a current standpoint.  

 Let’s just say that when someone rises up after that iconic launch out of a second floor window, this time it ain’t the guy in the mask. 

    In her 2018 introductory scene, Jamie Lee Curtis’s Laurie Strode cautions a doubting young man that he should believe in “the boogeyman.”  And she should know. After spending a good chunk of her 1978 Halloween fighting off a faceless predator, she’s been readying herself for retribution since..... well, since Jimmy Carter was in the White House.  Rather appropriately, the country now finds itself abuzz forty years later with the possibility of self-reliance for women, and Laurie could be the poster child for that.  After erecting a compound that MacGyver couldn’t escape, she spends most of her time trying to convince her daughter and other skeptics of the legitimacy of her concerns.  Her granddaughter on the other hand, appears to be more of a chip off Grandma’s block, displaying a balance of empathy and independence.  (Her gender bending costume choice for the Halloween dance says it all.) Decidedly, the scantily clad shrieking babysitters are fewer and further between in Haddonfield this Halloween.  And although many elements that made the slasher film a classic in 1978 are still present in 2018, they stand in a very different context.  Which takes us back to that boogeyman everyone’s been talking about......

   Laurie’s boogeyman is Michael Myers, a creepy guy in a generically faceless mask who just won’t quit.  His continual resurrections after every weapon attack imaginable seem like an inhuman personification of her inescapable terror.  But isn’t that really true for all of us?  Our deepest fears and anxieties are rooted in the ambiguous and unknown.....whatever is lurking behind the closet door, waiting to jump out when we feel the most vulnerable or alone.  I suppose there’s a reason why Gwen Stefani sings “I’m just a girl....they won’t let me drive late at night.”  Michael Myers, Jason, and Freddie Krueger sure don’t help matters at all.  Couple that with the victim who is met with doubt and accusations of paranoia, and then wonder why some remain voiceless, yet live each day afraid of what’s behind that dark closet door.  If the Strode women indicate a trend towards empowerment, then perhaps less will let fear take their voice away, and more will say “me too.”  

    Yes, John Carpenter’s 1978 classic has gotten quite the onscreen birthday bash this year.  Audiences get to vicariously experience JamieLee Curtis conquering their darkest fears, with the bang of a bright orange exclamation point.  When the familiar glowing jack o’lantern flashes in syncopation to that familiar frenetic score, we won’t be covering our eyes.  We’ll be eagerly thinking “let’s go!”

✨👨🏻Happy Burt-Day👨🏻✨

The story of my birth is very closely tied into Burt Reynolds.  As ambiguously exciting as this may sound, I’ll clarify that the night before I made my entrance, Burt was guest hosting for Johnny on The Tonight Show.  While my first-time Mom waited to go to the hospital as labor started, she watched Burt Reynolds joined by (according to Google), his loyal partner in comedy, Dom DeLuise, Kareem Abdul-Jabar, and Connie Stevens.  Oh yeah, and Norman Fell. Mr. Stanley Roper.  How much more late ‘70’s/early ‘80’s can you get than that?  Throw in a Mel Brooks or a Don Knotts, coupled with a rubber chicken, and you could cast another Cannonball Run sequel.

    Burt must have been one heckuva guest host, because every time my parents retell the story of my very first birthday, he always figures prominently in the narration.  And as I realized today, Burt Reynolds’ iconic presence in pop culture has been a comfortably ubiquitous constant in many facets of my life since.  

     As a self proclaimed “indoor child,” my 1980’s summer afternoon HBO schedule was peppered with many a zany flick featuring the “Burt posse,” in ensemble comedies such as Smokey and the Bandit, Stroker Ace, and one of my personal favorites, The Best Little Whorehouse in Texas.  (The puckish charm of the Burt/Dolly duet, “Sneakin’ Around” speaks for itself.) I vividly recall the hype surrounding the highly anticipated Burt/Loni wedding, and the corresponding People Magazine that served as car time reading on a family vacation to King’s Island.  Cable syndication reminds me that Evening Shade remains a subtly memorable highlight of his filmography.  Blanche, Rose, Dorothy and Sophia have gushed over many a cheesecake about “Mr. Burt Reynolds.”  And was it at all surprising that with a signature ‘70’s ‘pornstache’ he played a character named Jack Horner in Boogie Nights?  Amongst all of this, “Mr. Burt Reynolds” starred in “All Dogs Go To Heaven.”  Anyone who knows me well can vouch that this credit alone holds more clout to me than the Pulitzer Prize for Drama.  I even have flip-flops sporting his silhouette, complete with a mustache icon on the strap.

    Unapologetically suave and unabashedly macho in an impish sort of way, the unbuttoning of his shirt would have the aphrodisiac power of a Julio Iglesias LP - but never in a threatening or arrogant manner.  Good ole Smokey could flash his broad smile as if he was letting you in on a mischievous secret, causing schoolgirls and grandmas alike to swoon.  I had always speculated that perhaps Will Ferrell’s iconic Anchorman borrowed from Burt’s masculine charm.  Therefore, imagine my hilarious delight to find Ron Burgundy recreating on a TV Guide cover the infamous Burt Reynolds centerfold pose from 1972.  Well, of course I bought it.  And took a photo.

    From children’s animation to The Golden Girls’ titillation, Burt Reynolds has been an omnipresent icon of the past half century.  Even if not always actively visible, the mere mention of his first name brings to mind a kind of leading man and an era to go with it.  A time when no one knew Ellen, but everyone tuned into Dinah.  Jimmy Carter didn’t tweet, but birds did.  And Hollywood had a panache that seemed so much more accessible and warm than anything seen through the lens of Instagram.  It’s a Hollywood that I, like so many other ‘80’s kids, always fantasized about being a part of, and I feel so fortunate to have experienced it as part of my pop culture development.  To all you Generation Catalano kids out there (Google it if you don’t know,) Happy Burt-day, and here’s to many more!

💫🤼‍♀️Let it Glow, Let it Glow: Gorgeous Ladies of Wrestling Rev Up For Round Two 💫🤼‍♀️

 Puberty initiated one of the most macabre horror flicks of all time.  Yes, as unsettling as it sounds, Carrie's entrance into womanhood kickstarted the chilling Stephen King tale of unbridled female rage and bloody revenge.  However unpleasant to consider, this curious piece of trivia begs the question:  Is there a mocking negativity associated with the coupling of femininity and the release of power?   Princess Elsa unleashed the "Frozen" powers she had been forced to harness with terrifying results - and we have the song running through our heads to prove it.  Hmmm....Carrie, Elsa....probable arch enemies in wrestling, the one sports spectacle where stereotypes are not only permitted, but fuel the game?  "GLOW," the summer's deliciously entertaining new Netflix watch, not only proudly rides this wave, but also laughingly takes these stereotypes in a playful headlock before promptly flipping them over on their backs, all before they know what hits them.  With the official announcement of a Season Two, fans can bask in the "glow" of anticipation for the riotous fun yet to come.
  GLOW.  A word that brings to mind a plethora of generally unintentional yet somewhat archaically sexist connotations..... a new bride....an expectant mother....a brand of dish soap.  The most prophetic "GLOW" for the Gorgeous Ladies of Wrestling is the blissfully eighties neon fest that's the opening sequence to the series pilot.  A fluorescent comic strip for children of the decade of excess, this animated intro rather foreshadows the pageantry which "GLOW" simultaneously lampoons and celebrates.  Electric cartoon figures applying lipstick and hairspray in the anticipation of an acrobatic body slam....trash-talk banter between opponents acted out with broad gesture.....caricatures of characters playing out the showdown the panting audience demands.  Wouldn't this be enough voyeuristic fodder to cause a die-hard feminist to gag on her granola, you ask?  Well, before Gloria Steinham has a chance to get her sports bra in a twist, consider what may be an unspoken preconception about wrestling: Expect the unexpected.
   Let's be candid. If Trevor from Homeroom revs up "GLOW" on his Netflix queue, there's a healthy chance it's not for the dramatic denouement - at least not initially.  "GLOW" serves up a generous helping of eye candy.  With enough spandex to wardrobe a Jane Fonda Workout video and enough Aqua-Net to sponsor the 1962 Miss America Pageant, glitz and gloss are abundant, while clothing can be sparse. What sets apart this window dressing, however, is the heartfelt substance behind the glitter.  Each Gorgeous Lady of Wrestling struggles with a hindrance, keeping them pinned down, out of control.  The very crux of the pilot storyline revolves around an industry which renders the artist completely powerless, at the mercy of casting directors and agents.  Throw into the mix being a woman, its accompanying double standards, and enough pent up resentment to rival the Tasmanian Devil.  Wrestling brings a sense of power, control, catharsis, and camaraderie for each of the GLOW ladies respectively.  One unlikely character confides that wrestling is the first activity that makes her feel comfortable in her body, a sentiment that manifests itself in some way or another through each gal.  
  While all audiences may not feel as warm and fuzzy to tune in and celebrate "I am woman, watch me wrestle," a genius aspect of "GLOW" shines through.   Like the predator draws in its prey before she pounces, viewers of all types are lured in to watch the glossy extravaganza before finding themselves sucked into the social aspects addressed.   Don't tell Trevor, but compare the technique to putting some sugar on the spoon with the medicine.  He may not be aware of it, but he's supporting a celebration of the power of femininity, and probably having a grand old time doing it.  Yes, the Gorgeous Ladies of Wrestling, adorned in spangles and sequins for the spectacle in the ring, may be the fantasy of every 7th grade boy, but also the secret wish of every 30-something woman.
  Jesse Ventura has said that "wrestling is ballet with violence."  A representation of the sport as an art form is indeed apt and relevant.  After all, as Chris Jericho articulates reflectively, "if Shakespeare was alive today he would be writing wrestling shows."  The struggling actress protagonist of "GLOW" rigorously explores this notion with relish and pride, joyously embracing control, as the scene becomes set for the series to take off flying.  Now this "glowing" review could spill all those juicy secrets of Season One, but shall stop here as not to spoil all the fun and twisty turns, which are plenty.  In the meantime, enjoy watching the Gorgeous Ladies of Wrestling give the proverbial middle finger to all who have wronged the underdog.  No need to feel guilty about it.  Just be thankful that the Incredible Hulk never gets PMS.

⛵🍎When You Get Caught Between a Lagoon and New York City: Yacht Rock in the Big Apple ⛵🍎

1980....the year that seamlessly transitioned Americans from the Disco Era to the Decade of Decadence, and what some perhaps pinpoint as Yacht Rock's prime.  In 1980, Vinnie Barbarino morphed into an Urban Cowboy, but one might ponder....what of the Urban Sailor?  Does the soft amber glow of a SoCal sunset necessarily have to be the hallmark of what Generation Y has coined to be "Yacht Rock"?  Must the nirvana of an ultimate mellow vibe only be achieved on the deck of a luxury liner docked at the marina?  Apparently not, as some of Yacht Rock's most beloved anthems sprang from the chaotic cacophony of the concrete jungle.  Blame it on an East Coast breeze of the late 70's/early 80's, if you will, but there was a definite urge to set some New York stories to the music of the mellow waters.  What better way to kick off regatta season than to steal away with a few of the most popular ones.  Let's sail the streets of the concrete jungle.....If you'll be the Captain, I'll be Tennille......

The Goodbye Girl (1977)
Neil Simon may not be the first name that comes to mind with the mention of smooth rock, but his award winning film "The Goodbye Girl" spawned a little gem of the genre - David Gates' sentimental love anthem of the same name.  The Manhattan rom-com about a Broadway dancer, a precocious daughter, and Richard Dreyfuss being well.....very......Richard Dreyfuss-like, reminds us in an achingly heartfelt way that "goodbye doesn't mean forever."  With almost as much quick repartee as a sweeps episode of "The Golden Girls," and enough 70's attire to help wardrobe a Richard Linklater film, this 1977 favorite is a real...... slice-of-life-of-an-actor/dancer-in-NYC-in-the-70's.....think "A Chorus Line," but replace Marvin Hamlisch with David Gates.  The vote is unanimous that the chemistry between Marsha Mason and Richard Dreyfuss is as charming as it is comical, culminating in the obligatory yet indispensable "scene in the rain," but this is not the key ingredient in the magical formula.  The sweet optimism of "The Goodbye Girl" - film and song respectively - somehow manages to dig up the warm and fuzzies amidst all of the polyester and bellbottoms, creating a genuine warmth of the sun on a blustery Manhattan day.  No, goodbye certainly doesn't mean forever.....😊🌻🌼

Arthur's Theme (1981)
The fact that a nighttime plane ride into JFK International inspired the idea behind "Arthur's Theme," is not simply a potential story from Yacht Rock: Behind the Music, but the truth about perhaps one of the most famous easy listening lyrics of the early 80's.  This explanation, while interesting fodder for a Jeopardy Daily Double, does not destroy the enigma of this smooth rock staple.  The amusingly ambiguous meaning of "Arthur's Theme" has been shrouded in mystery for an entire generation of 80's kids.  The song possesses the kind of reassuring familiarity of the soundtrack to a childhood dream: you may not be able to articulate the title or artist, but immediately recognize the melody and it's place on your memory hard drive....dentist's waiting room, hotel elevator, Aunt Linda's minivan radio?  Before the days of Shazam and Siri, inquiring minds would have to guess song titles based on chorus lyrics - a definite problem with "Arthur's Theme."  Still however, we all managed to figure out this one - most likely scrolling up and down the screen on a Time Life compilation commercial. Co-penned and performed by easy listening maven Christopher Cross specifically for the 1981 film, the hit song was apparently once actually performed by Cross and "Arthur" himself, Dudley Moore, at a London concert.  Even if we're still a little unsure about how one can get caught between a celestial satellite and Manhattan, what it has to do with a carefree billionaire, and how Liza Minnelli fits into all of this, "Arthur's Theme" certainly deserves its place in Yacht Rock history.  Just don't ask me if it's closer to the moon or New York City, because I'm still trying to figure that one out.

It Might Be You (1982)
This brings us to perhaps my personal favorite of the mix - the tune that makes us all a little verklempt while thinking of Dustin Hoffman in drag.  How could a film named after Hoffman's mother's doggie not be too cute for words?  The delightful cinematic namesake is certainly not the only endearing aspect of "Tootsie".......there is a special feel to the 1982 comedy that deserves a theme like tunesmith Stephen Bishop can provide.  While the song can definitely be classified as smooth, I'll be so bold as to say that it sails even beyond the parameters of Yacht Rock classification.  Call it the same bittersweet wave that Dan Fogelberg's "Same Old Lang Syne" rides, but "It Might Be You" instantly cradles our senses into a lull of warm nostalgia, whatever that may mean to the listener.  This is perfectly illustrated during a 2016 performance of the song on "The Tonight Show."   Singing in front of a moving puppet display of hearts and unicorns, Bishop takes what could be the ingredients of a Lisa Frank Pinterest board and creates a performance that is whimsical with an extra cushiony layer of tenderness and heart.  While I don't believe that the actual word "Tootsie" is uttered in the film's dialogue, I can't think of a more appropriate title for this cute mixture of sentiment and sass.  Just like the upstate New York cozy montage in which the song is featured, "It Might Be You" is a warm and comfortable musical companion to one of the most beloved and critically acclaimed films of the 80's.

One may ask, where does all of this discussion land a scholar of the easy-listening music genre?  The blustery winds and charcoal hues of a New York City street scene....the curious thrill of the New York theatre world......the exhilarating romance of everyday life in the Big Apple itself.  Is the charm found in any one ingredient or all of them mixed together?  We could ride on the sails of speculation until the castaways get rescued from Gilligan's Island, but ultimately the magic sprinkles that rained down from the gods of smooth rock to create these little ditties are - like music itself - intangible and difficult to describe with words.  Christopher Cross knew what he was talking about.  You know it's crazy, but it's true.