What happened to Strom Thurmond?
Died of autoerotic asphyxiation.
There was an unsuccessful cover-up over the extensive collection of black-on-blonde porn discovered with the body…
What happened to Strom Thurmond?
I've mentioned this before, but the garish over-saturation was a means to sell colour TV sets in the late-1960s and early-1970s. In time, American shows became at least as drab as British ones - a trend most likely kicked off by All in the Family, which premiered in 1971 and was mostly various shades of beige (and shot on video as opposed to film, which further degraded the image quality). Creator Norman Lear had wanted to film in black-and-white, but that wasn't happening in 1971 (the last black-and-white primetime network shows switched to colour in the mid-1960s).
I'm not a particular fan, I used him in my thread because I did remember him!"Metamorphosis". Are you a fan of Corbett? I'm curious as to why you went of your way to name-check him.
Speaking of which, since this thread is probably one of the few places I can say this without fear of censure, one of my personal reasons for lamenting World War II is the lost opportunity that the suspension of television broadcasting by the BBC represents, especially when taken cumulatively with the devastation to physical and economic infrastructure wrought by the war. Imagine where the technological level and market saturation of television broadcasting would be in a situation where WWII is somehow avoided (with a POD after 1936).As a state-funded organisation, the BBC could afford to push the boundaries of technology, since they weren't required to make money from it. As with colour television (or indeed television itself in 1936), they could provide a service first and then wait for manufacturers and consumers to catch up.
It certainly is telling that, even to the present day, they have continued to issue licences for black-and-white television sets. Obviously there's a sufficiently large market for them.As for black-and-white TV, our old portable came with me to university in 1996 as the license was a lot cheaper than for a colour set, though when I moved into a shared house the next year (and so was able to split the license fee 4 ways) I re-upgraded to colour.
Yes, Black-and-White TVs remained popular in the Seventies for just this reason. Since they were made to be cheap to buy as well, they often lacked advanced features such as a remote or Ceefax.
I know, right?! It seems wrong to imagine that "SUSPENDISSE IACULIS ANNO DOMINI MCMXXXVI" wasn't there from the beginningI had a similar reaction when I saw programmes from the 70s on UK Gold when we first got satellite TV- I had assumed that they had always used Roman numerals.
You're both in the same boat as me. I remember being so excited as we were approaching the year 2000 because, among other reasons, we would be going from MCMXCVIII and MCMXCIX to just MM, and then MMI! (In fact, I even remember thinking that surely when 1999 arrived, they would be able to just use "MIM", and I swear I did see that somewhere, though I can't recall where.)I have a friend who's a primary school teacher who tells me that when he teaches them Roman numerals and they ask why they're learning it, he tells them "so you can tell if television programmes are repeats or not!"
Reminds me of a Simpsons episode where Krabappel is teaching them Roman numerals so they know when certain films were copyrighted!
Also worth noting is that licences for colour TVs were first issued in the period ending March 31, 1968, consistent with the first regular colour broadcasts in the United Kingdom beginning on July 1, 1967 (on BBC2, perhaps marking the beginning of that channel's reputation as a testbed for "experimental" programming). By this time, the entire US primetime network schedule was in colour (since September, 1966). Consistent with your observation about sales of colour sets outpacing B&W, this happened in 1972 in the United States - the same year that the "IN COLOR" proclamations ceased.It's worth noting that 1977 was the first year that the number of Colour TV licences issued exceeded the number of Black-and-White ones. Since Black-and-White TVs were still in use in households with Colour licenses, the licence figures actually underestimate the proportion of Black-and-White TVs in use.
I'm rather ashamed to admit that I did laugh at your, off-colour, shall we say , explanation, su_liam. To answer your question, Orville, Thurmond was defeated in his bid for re-election in 1978 - the high-water mark year for the AIP - after that party targeted him due to his affiliation with Reagan (and refusal to change parties). This allowed the Democratic candidate, Joseph P. Riley, Jr. (IOTL the Mayor of Charleston since 1975 - yes, right up to the present day ), to come up the middle between the two candidates, largely with the support of black voters (obviously) and Charlestonians. (Even IOTL, Thurmond won only 56-44 in a good year for Republicans.) Thurmond, who was 76 years old upon leaving office, subsequently went into retirement.What happened to Strom Thurmond?
Died of autoerotic asphyxiation.
There was an unsuccessful cover-up over the extensive collection of black-on-blonde porn discovered with the body…
Thank you, AndrewI am impressed (but not surprised) by your thorough and excellent research on the alt-Senate, Brainbin!
This was definitely the guiding principle for determining which southern politician found himself in which party. Democrats who took longer to switch to the Republicans IOTL have generally remained Democrats ITTL - including not only Gramm but also the man he replaced, John Connally, who is currently serving in Cabinet. (We never decided where in Cabinet - I suppose Treasury wins by default, since that's where he served under Nixon IOTL.) The up-and-coming conservatives of the post Civil Rights-era - many of whom joined the GOP IOTL - have generally joined the AIP ITTL. As an illustration of the dichotomy between AIP conservatism and GOP conservatism, I present Sen. Trent Lott (AIP) and Rep. Thad Cochran (GOP) - fortuitously, we decided which parties these two would respectively call home well before recent events vindicated our choice. (Also consider that Lott's fellow Senator from Mississippi is the black Republican, Charles Evers.) As a general rule, of course, elder statesmen and young turk alike switched to the ADP in Alabama, due to Wallace's power and influence (and, naturally, many switched back to the Democrats in the early 1980s).Andrew T said:Seeing folks like Phil Gramm (D-TX) at the bottom of the seniority scale makes me wonder about the fate of conservative southern Democratic candidates (and their voters) ITTL.
Obviously, the AIP/ADP is a logical ideological fit, but it's difficult for me to envision someone as politically savvy as Phil Gramm ditching a major political party for a regional third party.
Yes, although a fair percentage of southern whites did park their votes with the AIP/ADP, who got 7% of the vote in 1976 - combined, the GOP and AIP tickets got about 58% of the vote, a number which should look familiar to those who know their electoral history. And yes, for one thing Reagan at least has the Argentine War; he's far more a George (H.W.) Bush than a Jimmy Carter.Andrew T said:That being said: you have a 1976 Reagan presidency, which presumably cobbled together many of the same voting blocs as OTL, including driving a wedge between working-class Southern whites and the national Democratic Party. Reagan's Presidency wasn't perceived as the failure OTL Carter's was; he lost rather narrowly in '80. So these voters may be ready to ditch the Democratic Party even earlier than OTL.
Intriguing speculation, which I will neither confirm nor deny at this juncture.Andrew T said:On the other hand, Glenn looks to be headed towards a decisive (possibly a landslide) victory in '84, and you don't typically get to be a U.S. Senator without having pretty good political instincts, so perhaps the Gramms of the world will grit their teeth and stick it out in a "Big Tent" party.
That should read boldly going, not going boldlyI figured this could be posted here
It should be noted that production of the first pilot for what would become All in the Family dates to 1968, when colour TV was much newer - which, of course, made it even less likely that it would be produced in black-and-white. And it must be said that many identifiably 1960s series (including, of course, Star Trek) were filmed and broadcast in colour, and are remembered as such. Even shows usually remembered in black-and-white (such as The Beverly Hillbillies and The Andy Griffith Show) transitioned to colour partway through their run. The 1950s were the monochrome decade.Oh, boy, he wanted it in black and white? Imagine if someone had let him do that, people would probably think it was a rerun from the '60s or something.
Well, you did just mention The Brady Bunch (produced contemporaneously), which also had a domestic setting, and which nobody in their right mind would ever describe as "beige". In addition, Norman Lear has spoken at length about how, forbidden from shooting in black-and-white, he devised the "compromise" of desaturating the colour palette as much as possible.DTF955Baseballfan said:As to the colors, I wonder if that was more becasue of the home setting of AitF? Those colors seem logical for a home, especially with Archie's ultra-conservatism, whereas MTM I remember Ted had some pretty loud jackets and often wore a fancy shaded blue blazer. And, the station's set was rather colorful, though Lou always wore that same white shirt.
Sure am! Although as an Orange County resident there's also the disillusionment one gets by being so near to the Disney colossus. But there's always Knott's.Glad you're still reading, Plumber! Are you a fan of Disneyland?
Excellent.In fact, the Walt Disney Company wasn't the only sponsor. Gene Autry got some great tax breaks from investing in the line - which will bring spectators to Angel Stadium from far and wide.
Ah, in-universe footnotes.Good point, although I should point out that Schmitt was re-elected ITTL (and I'll get back to that later on).
Is that still there? I have fond memories of seeing the Snoopy-themed area there in 1992.Sure am! Although as an Orange County resident there's also the disillusionment one gets by being so near to the Disney colossus. But there's always Knott's.
Sure am! Although as an Orange County resident there's also the disillusionment one gets by being so near to the Disney colossus. But there's always Knott's.
It should be noted that production of the first pilot for what would become All in the Family dates to 1968, when colour TV was much newer - which, of course, made it even less likely that it would be produced in black-and-white. And it must be said that many identifiably 1960s series (including, of course, Star Trek) were filmed and broadcast in colour, and are remembered as such. Even shows usually remembered in black-and-white (such as The Beverly Hillbillies and The Andy Griffith Show) transitioned to colour partway through their run. The 1950s were the monochrome decade.
Well, you did just mention The Brady Bunch (produced contemporaneously), which also had a domestic setting, and which nobody in their right mind would ever describe as "beige". In addition, Norman Lear has spoken at length about how, forbidden from shooting in black-and-white, he devised the "compromise" of desaturating the colour palette as much as possible.
I share two things:
One for fun:
http://trekmovie.com/2014/09/10/see...ould-have-looked-like-in-widescreen-cinerama/
That is quite fun and well joined together!
One for information:
http://trekmovie.com/2014/09/12/exc...nflicts-with-roddenberry-berman-jj-trek-more/