Richard Kiley's death scene goes on for what seems like the last half of the episode, and it may not be near the weirdest characteristic. It's indescribable viewing on another level, and beyond me how people hired to make TV programming decisions would think this would appeal to anyone but two kinds of people: miscreants and hermits. Then again, Aaron Spelling did spawn 90210 to the world....

Coe moved on from the edgier Cash-derived prison poetry of Penitentiary Blues to what was essentially the twisted redneck version of The Last Poets. Somewhat comparable to Insane Clown Posse's outrageous take on hardcore rap. A neat curio.

An OK record but the Elkie Brooks vs. Robert Palmer dynamic which made their debut so attractive is fraying at the edges just two albums later. Naturally, it was the last Vinegar Joe studio record.

Despite the low-brow National Lampoon feel and frequent rearranging of innumerable details surrounding the Good Doctor's life (right down to changing Oscar Ascota's name to...Carl Laszlo? Where did that come from?) this is a fun watch, boosted by Murray and Peter Boyle's presence on-screen.

The amount of liberties Herzog's movie takes in retelling the ill-fated 1560 Amazonian expedition in search of El Dorado is beside the point. The real movie is Klaus Kinski in the role of Don Lope de Aguirre and how closely it resembles a "Sympathy for The Devil" scenario. Which, despite what so-called accomplished movie critics tell you, isn't as spellbinding, shocking, or original, as they would have you think it is.