1919 Chicklets Candy Coated Chewing Gum

This advertisement originates from America and dates back to 1919. The ad is for Chicklets Candy Coated flavoured Chewing Gum!

Cockleshell Bay: Episode Four - The Grand Old Duke of York

The children are in the kitchen making lots of noise singing the nursery rhyme "The Grand Old Duke of York." They are so busy using pots and pans that they do not hear the grown ups. The grown ups eventually come down and ask the children to stop.

The children go and see Mr. Ship. They find him playing the violin which he picked up in South America many years ago when he was sailing round the world. They then ask him if they can play some music using his kitchen pots and pans.

Queen - Sheer Heart Attack!

QUEEN Sheer Heart Attack (2011 issue UK Deluxe Edition 18-track digitally remastered 2-CD album set - Originally released in 1974, 'Sheer Heart Attack' experimented with a variety of musical genres, including music hall, heavy metal, ballads and ragtime. At this point, Queen started to move away from the progressive tendencies of their first two releases into a more radio-friendly, song-orientated style. This 2-disc edition comprises the 13-track album featuring the single, 'Killer Queen', 'Flick Of The Wrist', 'Lily Of The Valley' and 'Now I'm Here'; plus a Bonus 5-track CD including a live version of 'Now I'm Here' recorded at Hammersmith Odeon in December 1975, BBC Session recordings of 'Flick Of The Wrist' & 'Tenement Funster', a 2011 acapella mix of 'Bring Back That Leroy Brown' and 'In The Lap Of The Gods… Revisited' recorded at Wembley Stadium in July 1986).

1. Brighton Rock
2. Killer Queen
3. Tenement Funster
4. Flick Of The Wrist
5. Lily Of The Valley
6. Now I'm Here
7. In The Lap Of The Gods
8. Stone Cold Crazy
9. Dear Friends
10. Misfire
11. Bring Back That Leroy Brown
12. She Makes Me (Stormtrooper In Stilettos)
13. In The Lap Of The Gods... Revisited

Bonus CD:
1. Now I'm Here - Live At Hammersmith Odeon, December 1975
2. Flick Of The Wrist - BBC Session, October 1974
3. Tenement Funster - BBC Session, October 1974
4. Bring Back That Leroy Brown - A-Cappella Mix 2011
5. In The Lap Of The Gods… Revisited - Live At Wembley Stadium, July 1986

The Long Good Friday (1979)

It might not have quite the iconic value of Get Carter (d. Mike Hodges, 1971) or the brash energy of Lock, Stock and Two Smoking Barrels (d. Guy Ritchie, 1998), but for many The Long Good Friday represents the high-water mark of the British gangster film, its reputation resting not just on a startling central performance from Bob Hoskins, but on its near-prophetic illustration of emerging 1980s values.

For while Hoskins' Harold Shand's gangland empire is recognisably in the mould of the notorious Kray brothers' 1960s reign, his brand of ruthless, thrusting capitalism makes him an archetype, albeit an exaggerated one, for the Thatcher government's enthusiastic sponsorship of individual enterprise (in a bid for legitimacy, Shand calls his domain the Corporation). This parallel is reinforced by Harold's choice of London's then still largely derelict Docklands area for his ambitious business project - anticipating the massive investment that transformed that region during the 1980s.

Harold is a truly monstrous figure: a corrupt political player with senior policemen and politicians on his payroll, a brutal overlord who responds to the unknown threat to his empire - in one of the film's most memorable scenes - by suspending rival gang bosses upside down on meathooks in an abbatoir, and who, faced with the betrayal of right-hand man (and surrogate son) Jeff, enacts revenge with ferocious violence. Yet in his fall, thanks to Hoskins' flawless playing, he becomes almost a tragic 'great man' of Shakespearean proportions. The increasingly wanton destruction enveloping him leaves him panicked and bewildered, and in the tender moments he shares with girlfriend Victoria we see a vulnerable, reduced and strangely pitiable Harold.

As Victoria, Helen Mirren is every inch Hoskins' equal, transforming the passive gangster's moll of genre convention (Mirren demanded extensive rewrites of the character) into a genuine power behind the throne - a tough, shrewd negotiator with equal and absolute commitment to the cause, whose ingenuity and resourcefulness crucially balance Harold's ruthlessness and discipline.

Originally funded by Lew Grade's Black Lion Films, The Long Good Friday fell into the lap of Handmade Films when Grade, who had taken exception to the IRA plotline, ordered his own re-cut for television, which added up to what producer Barry Hanson called "about 75 minutes of film that was literal nonsense". Handmade's outlay was some £200,000 less than the film's production cost, an investment that was handsomely repaid.

Randall & Hopkirk (Deceased) - Episode Four: Never Trust A Ghost!

Never Trust a Ghost was the fourth episode of the classic 1969 ITC British Television Series, Randall & Hopkirk (Deceased) starring Mike Pratt, Kenneth Cope and Annette Andre. The episode was first broadcast on 12 October 1969 on ITV and was Directed by Jeremy Summers.

While out on a late-night stroll Marty Hopkirk witnesses the murder of a Mr. Howarth by the hitman, Rawlings as Howarth enters his home.

He travels back to Jeff's apartment to wait for him, whereupon Jeff turns up in the early hours of the morning with a beautiful girl in tow. Marty demands Jeff send his date home and call the police, which he eventually begrudgingly does, travelling with Inspector Clayton to the house where the murder took place. However, when they arrive they find his wife and it appears that Mr. Howarth is back alive and well.

Jeff leaves after Howarth threatens to sue him, only to arrive back the next morning to apologise to Mrs. Howarth, again at Marty's insistence. Marty sees Rawlings in the study and calls Jeff in, by which time Rawlings has disappeared into the secret room branching off it. Engrossed with the case, Marty spends time in the Howarths' house, whereby he learns that both Mr and Mrs Howarth have been murdered and replaced by impostors. Insisting Jeff returns after he locates the bodies in the basement, Jeff returns to the house again, only to find the bodies are no longer there.

Jeff now in serious trouble uses Jeannie as an alibi to escape a third police warning, but is growing increasingly concerned by Marty's behaviour. He visits a psychic medium Professor Plevitt at the British Museum who convinces Jeff that Marty like all ghosts is hallucinating. Driving home, as a result of Plevitt's advice Randall disbelieves Marty's warning that Rawlings is out to kill him, only convinced when he narrowly avoids being shot in his car. Later Rawlings turns up at Jeff's office pretending to be a James Wenworth-Smith of Westminster". However, Marty warns Jeff and the two struggle, whereupon Jeff is knocked unconscious by the highly physically trained Rawlings and tied up back at the Howarths', with their plan to frame him for the murders.

However, under Jeff's guidance Marty visits Professor Plevitt in order to get him to call the police. The process takes a great deal of time and Marty finds it extremely difficult to convince the medium that he is an extraordinary ghost with excellent capabilities. It appears that disguises were being used to impersonate the murdered Howarths (the female agent's name is revealed as "Karen"), and that Mr. Howarth was in charge of savings for the Secret Service. His murder meant that the enemy impersonators had access to the full names and details of every undercover agent in the UK. The police arrive and arrest all three, though Marty winds up Jeff by pretending to hallucinate for seeing a body in a cupboard, getting his revenge on Jeff for his disbelief.

Sons and Daughters - Episode Eight

Fiona tells John that Bill won't be able to help, and that John is going to the worst possible place to get an answer. She reminds him that he has no money, and says he's throwing away his life (not to mention the job she's set up for him). Fiona says she's going to bed, and tells John that if he's not there in the morning, he can go to hell for all she cares.

A while later, John is hitching a lift at the roadside. A car eventually stops, and an attractive woman driver lets John get in. She tells him she's driving to Melbourne from Surfer's Paradise, then adds that she's going to Russell Street, where she's a police cadet!

Patricia tells Angela that she's an inverted snob and likes "Scott" because he has no money. Angela says that "Scott" makes her feel happier than anyone else, and adds that she wants to invite him over to Dural again. She calls the boarding house and Fiona answers. She tells Angela that "Scott" has gone back to Brisbane because of a family problem. Angela asks if he's coming back, to which Fiona replies that she would say if she knew.

Lynn and Kevin lie on Kevin's bed. Kevin tells his girlfriend that he's glad he's best man, and she's bridesmaid, so they can spend the wedding day together.

At Bill's house, Bill tells Susan that he's had a heavy day at work, and wants to unwind. Susan offers to pay for a trip to the movies, and Bill suggests they go at once as he wants to avoid his mother. He says he's looking forward to moving out after the marriage.

Angela turns up at the boarding house. Jill answers the door, and, not knowing that Fiona told Angela that "Scott" had gone to Brisbane, tells Ms. Hamilton that "Scott" is probably out with Fiona.

John has reached Melbourne and catches up with Bill. He explains that he needs help to clear himself by finding out who really killed Sam Selmar. John wants Bill to go around asking questions such as whether Selmar had any enemies, or whether Mrs. Selmar could have murdered her own husband. Bill tells John that Mrs. Selmar has re-hired him and that she couldn't kill anyone. Bill advises John to give himself into the police, as they won't convict him if he's innocent. John accepts that Bill won't help him. Bill gives his friend some money, tells him to find somewhere to stay, and says he'll call him in the morning.

Jill tells Fiona that Angela visited. Fiona tells her boarder that "Scott" has gone away for a while. Jill says Angela might be alright if she didn't act as if there was a permanent bad smell all the time.

At the Hamiltons', Patricia answers the 'phone to Simon. He wants to speak to Angela, and he invites her out that night. She agrees to go. Patricia tells her daughter to cheer up as it's no use moping for "Scott".

The next morning, Susan and Beryl discuss the wedding - there's still so much to arrange. Susan offers to drive her mother to the market to get the shopping.

John rings Bill from a callbox. Bill says he will help John, and John says he's staying at the Rembrandt Hotel, in room 23. Bill tells John to stay in his room to keep out of danger.

Angela tells her mother she had an OK-ish time last night. Patricia says she realises Angela thinks she takes too much interest in her daughter's social life, then adds that she's happy Angela is seeing Simon. Patricia tells Angela it was so unusual for her to be interested in someone like "Scott"

Angela goes back to the boarding house, wanting to see "Scott". Jill comes to the door and, when she sees who's there, she calls Fiona. Angela introduces herself and Fiona looks startled. Angela wants to know who out of Fiona and Jill was lying the previous day. Fiona says she won't tell Angela where "Scott" is, and adds that it would be better if Angela didn't see "Scott" any more. When Jill leaves the room, Fiona tells Angela that Jill is pregnant to "Scott"! Fiona says "Scott" wanted one last fling to blot out his responsibilities. Angela asks if "Scott" is going to marry Jill, to which Fiona replies that "Scott" is very fond of Jill but isn't sure if he loves her. Fiona says she's sorry Angela had to find out. Angela tells Fiona that she knows she isn't really sorry, and won't be bothering her again.

In Melbourne, John watches Beryl from a distance. When she leaves the market to head home, John runs towards her, and they have an emotional reunion. John tells his mother he's going to sort things out by himself and says he'll explain everything when it's all over. Beryl tells John to stay in touch; she is overwhelmed to see him.

At Bill's flat, Bill makes a telephone call: he calls the police, and tells them John's hotel address. Bill won't reveal his name, but says he's not a crank and that he's telling the truth.

Music Star (1973) Part Two

This edition of the mag dates back to 7th July 1973 and features, Brian Connolly, Jay Osmond, Marty Kristian, Merrill Osmond, Marc Bolan & Elvis Presley.

Donny Osmond appears on the cover from this 1973 edition. Among the posters were, David Cassidy, The Osmonds, Mick Flinn, Dave Hill & Marty Kristian. There were features on, Randy Jackson, John Denver, Slade, Gary Glitter & David Cassidy.

This edition was released on 1st September and among the posters were, David Cassidy, Michael Cassidy, Noddy Holder, Donny Osmond & Mick Jagger. There were features on, The Osmonds, Alice Cooper, Rick Springfield, Sweet & Noddy Holder.

The 8th September and stars featured include, David Essex, Brian Connolly, Jermaine Jackson, David Cassidy & Marty Kristian. Posters were of, Slade, The Osmonds, Gary Glitter & Junior Campbell.

The Beatles - Baby It's you

THE BEATLES Baby It's You (1994 UK Apple/EMI label promotional 12" x 12" in-store card display flat produced to promote the release of the single taken from the 'Live At The BBC' album, features the superb sepia image of the Fab Four as used on the single artwork).

Randall & Hopkirk (Deceased) - Episode Three: All Work & No Play

All Work and No Pay is the third episode of the classic 1969 British Television series, Randall & Hopkirk (Deceased) starring Mike Pratt, Kenneth Cope and Annette Andre. The episode was first broadcast on 5 October 1969 on the ITV Network and was Directed by Jermey Summers.

The Foster Brothers (Alfred Burke and Dudley Foster), two rich conmen who claim to be spiritualists, try to convince Jeannie that Marty is haunting her as a poltergeist by using electronic equipment to smash objects in her apartment. Holding her trust, they then recruit her to leave Randall and Hopkirk and work for them, earning £75-£100 to ensure that widows like her use their medium service.

Attempting to lure Jeannie back, Jeff pays an actress friend Laura Watsin (Adrienne Corrie) a scraped £250 to play the role of a client looking for a lost son. However, the actress shortchanges Jeff by only handing £25 over to Jeannie, who in turn introduces her to the Fosters. While there, they reveal that they intend to kill Laura, the only difference between her and their previous victims being that they're telling her in advance, so that she'll know they'll try to reach her on the "other side". Genuinely interested in being mediums, they also ask her to contact Marty Hopkirk after her death, as a reward for his widow Jeannie.

Using Marty's help Jeff uncovers their plans, whereby they decide to kill both Jeff and Jeannie using their equipment. Marty teleports to a nearby electricity power station and overloads the grid, blacking out the whole of southern England, including the Fosters' home. With Jeff calling the police, the brothers are arrested, and Jeff finds Laura Watson hiding in the back of his car, covered in only newspapers after having swam to safety while the plot developed.

Making a Monkey out of Clint!

Every Which Way But Loose materialised in 1978 and was an American adventure comedy film, released by Warner Brothers, produced by Robert Daley and directed by James Fargo. It stars Clint Eastwood in an uncharacteristic and offbeat comedy role, as Philo Beddoe, a trucker and brawler roaming the American West in search of a lost love while accompanied by his friend/manager Orville and his pet Orangutan, Clyde. In the process Philo manages to cross a motley assortment of characters, including a pair of police officers and an entire motorcycle gang (the "Black Widows"), who end up pursuing him for revenge.

Eastwood's appearance in the film, after his string of Spaghetti Western and Dirty Harry roles, somewhat startled the film industry and he was reportedly advised against making it. Panned by critics, the film went on to become an enormous success and became, along with its 1980 sequel Any Which Way You Can, two of the highest grossing Eastwood films.

Philo Beddoe is a truck driver for a pipe supply company and a part-time auto mechanic living in California's San Fernando Valley. He lives in a small house behind that of his best friend Orville Boggs and his mother, Ma. Philo also has a pet Orangutan named Clyde. Philo makes money on the side by hustling as a bare-knuckle fighter; he is often compared to another fighter named Tank Murdock (Barnes), of legendary status.

One night Philo becomes smitten with Lynn Halsey-Taylor, an aspiring Country Music singer he meets at the Palomino Club, a local honky-tonk. His relationship with her seems to be going well until one day she and her camping trailer disappear from the ramshackle trailer park. Believing that he is falling for her, Philo decides to set off for Lynn's home in Denver, Colorado.

Throughout all of this is a subplot involving a motorcycle gang called "The Black Widows", who incur Philo's wrath after two gang members insult him and Clyde at a traffic light one day. Philo chases them down and takes their bikes (which he repaints, repairs, and resells), and every attempt they have made to get even has resulted in even more disaster, including a showdown with the shotgun-wielding Ma. Philo also unknowingly has incurred the wrath of a LAPD officer named Putnam, whom he roughed up at the Palomino after learning that Lynn has left town. The cop, his partner Herb, and the Widows learn of Philo's trip to Colorado and head off to find him.

Orville and Clyde accompany Philo to Denver, and on the way, they meet the feisty Echo working at a produce market. She becomes Orville's girlfriend. The trio earn their money for the trip by booking Philo fights with other area bare-knucklers. One fight in a slaughterhouse in nearby Santa Fe almost goes awry when a man holding the money for the fight tries to stiff Philo, clearly outnumbered. Two gunshots fired by Echo's .38 pistol, causes the man to quickly hand over the money and they leave without further incident.

Later, it is revealed that Lynn uses men for sex and money in the towns where she plays her gigs. Knowing that Philo has come to look for her, she assists Black Widow gang leader Cholla into luring Philo into a trap. Philo takes the bait and unwittingly engages in a showdown with the Widows. Philo manages to fight most of them until Orville, watching the fight, intervenes. He gets into a parked garbage truck with a dumpster hoist, and dumps every Widow bike into the back of the truck to be crushed. The rest of the Widows chase the garbage truck in a futile attempt to catch it, but it is of no use. Philo, Echo, and Orville reunite and continue their trip.

Philo finally finds Lynn and she reveals her true cold-hearted nature to him. Hurt at her callousness and after she calls him dumb, Philo says that he has been the only one dumb enough wanting to take her further than her bed. Feeling cheap, Lynn erupts in a fit of rage, where she strikes him repeatedly until she collapses in tears of anguish.

Orville learns that Tank Murdock, based in the area, is ready to retire after one more good fight. Orville makes the arrangements, and Philo, up for the challenge, faces his kindly yet pudgy and elderly nemesis. While Murdock hits hard and has considerable endurance for a man his age, Philo is faster, and is able to dodge most of Murdock's strikes. However, during the fight, the crowd, initially pro-Murdock, begins to insult him while he is bloodied and on the ground, with some murmurs that Philo is going to be the next Tank Murdock. Philo, hearing the murmurs, is suddenly saddened by the fickle crowd's loss of respect for Murdock. Liking Murdock, he allows him to save face by taking a dive. As Murdock is swaying and barely able to stand, Philo lets his guard down, giving Murdock a clear shot, which knocks Philo down for the count. Murdock, having regained the crowd's esteem, is allowed to retire undefeated. Both men exchange glances from a distance, and without words acknowledge their respect for one another. Philo, Clyde, Orville, and Echo head home the next day. Along the way, they pass by the Widows (driving a beat-up 1959 Cadilac Sedan Seville) and Putnam & Herb (in their damaged 1977 Chevy C2500 Pick up.)