Elizabeth Sandifer

The Master, at his most Aleister Crowley, faces down Sergeant Benton at his most Bruce Springsteen.

It’s May 22, 1971. Dawn are at number one with “Knock Three Times,” and hold it for four more weeks before giving way to Middle of the Road’s “Chirpy Chirpy Cheep Cheep,” which is just one of those things that happens on the British charts. See also Israeli novelty blues. What’s more interesting is the lower reaches of the chart, where we see… OK, well, here’s the thing. I have next to no idea who any of these bands are. Admittedly, I am not the world’s biggest 70s Music Buff, but I like to think that I’m not completely hopeless and that many of you will also be more or less mystified by the information that John Kongos, Tami Lynn, Blue Mink, East of Eden, R Dean Taylor, and the Elgins were also in the top ten.

In other news, a massive earthquake levels Bingol, Turkey. Neville Bonner becomes the first indigenous Australian to sit on the Australian parliament. But the big stories are the US dropping its trade embargo with China, which we’ll talk more about on Monday and the beginning of publication of the Pentagon Papers. (Though two days after this story ends, the British grant asylum to a Russian space scientist, which is kind of cool too.)

To recap, we’ve been playing of late with the idea that there are two completely distinct modes of thought operating in the Pertwee era at any given time. The first is what we’re calling glam Pertwee – a style based on the interplay and juxtaposition of images. The second is what we’re calling action Pertwee – a style based on telling tense techno-political thrillers. Thus far virtually every Pertwee story can be understood reasonably well as a combination of influences from the glam and action styles. Colony in Space started to challenge this, but only superficially by bringing in a more complex ethics than past action-style stories had displayed, not by breaking out of the paradigm.

The Daemons does not shatter that paradigm, but it does push it a little bit. And it is as a result an unusually complex story. So to some extent, we’re going to do it in two parts. First we’ll look at what the story does today. Then on Friday we’ll do a Pop Between Realities post in which we try to make sense of the larger cultural signifiers going on here.

The Daemons is, by any measure, one of the major Pertwee stories. It’s well-remembered both by everyone who worked on it and by audiences at the time. It also marks the introduction of one of the major writers of the Pertwee era as Barry Letts puts on his third hat, already being the producer and occasional director of Doctor Who. Here he and his friend Robert Sloman collaborate under the pseudonym Guy Leopold, but make no mistake – this team ends up doing the season finales for the next three years as well as this one, which means they get to write some landmark episodes.…

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Never before has standing around in the TARDIS seemed such a welcome change.

It’s April 10, 1971. T. Rex is still at number one, and remains so for three more weeks for a total of a six week run at the top. He’s finally unseated by Dave and Ansel Collins’s “Double Barrel,” a reggae track that survives for two weeks. The charts also see Ringo Starr follow his three former bandmates into the top ten, and The Rolling Stones hit number two with “Brown Sugar/Bitch/Let it Rock.” Andy Williams, Olivia Newton-John, and Waldo de los Rios also make the top ten, the latter with a recording of Mozart’s Symphony No. 40. And lower down, The Sweet are at number thirteen with “Funny Funny,” another visible sign of glam’s reign.

The news is mostly incremental progress on various fronts. Charles Manson and his followers are sentenced to death, Bangladesh formally comes into being, and, perhaps most significantly, several of the events that will eventually bring down the Bretton Woods system kick up as central banks in several European countries halt currency trading due to an excess of US dollars flooding their markets.

While on television, Doctor Who, the show we’ve been getting used to over the course of the last sixteen months or so, visibly wanders off to be replaced by some other show. The trappings we’ve become used to – UNIT, mainly – make a token appearance in the first episode in the form of the Brigadier, but the bulk of the start of this story is concerned seemingly with dismantling the premise of Doctor Who as the main character runs off in that Police Box he’s been fiddling with, which, improbably, turns out to be a time machine that can take him to other worlds.

This is, of course, being a bit facetious – the function of the TARDIS has, after all, been kept in play. The TARDIS played a major role in the resolution of both The Claws of Axos and Inferno. The idea that the Doctor would stay on Earth forever was looking increasingly strained. But on the other hand, it’s been two years almost exactly since the Doctor had a working TARDIS. The last alien world the Doctor visited was in The Krotons.

The result is a strange position. The show is not doing something unexpected in heading out into space. It’s an event, yes, but not as big of one as something like the revelation of the Doctor’s people or the introduction of his opposite number. But it’s still been so long since the show has done something like this that this is still, in a real sense, a relaunching of the series. Everyone knows Doctor Who is a show that can go to other worlds, but it’s been long enough that the exact mechanics of how that works are forgotten.

And in order to execute this relaunch the series turns to Malcolm Hulke, who, along with Robert Holmes, make up the veteran contingent of the series’ writers at this point.…

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I’d make a snarky comment here, but A, nobody ever even mentions the captions in the comments, and B, what is there to say about this picture that the picture doesn’t say itself?

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And the child prayed, “God, will you make it so The Mind of Evil is in black and white so we don’t have to look at Jon Pertwee’s horrible purple jacket?” And God said, “Yes, my child, but I must leave one photo behind as a warning to all.” And so it was done.

It’s January 30, 1971. George Harrison is at number one with “My Sweet Lord,” having unseated Mr. Dunn. He enjoys a five week run before Mungo Jerry’s “Baby Jump” unseats him. Lower on the charts, T. Rex still stalks about upon a White Swan. The Supremes are on the charts with “Stoned Love,” a song that is actually probably not about sex while smoking cannabis, not that that has any real relevance to its interpretation. Judy Collins, Paul McCartney, Neil Diamond, and Elton John also chart.

In other news, Idi Amin, or as he’ll eventually become known, His Excellency, President for Life, Field Marshal Al Hadji Doctor Idi Amin Dada, VC, DSO, MC, Lord of All the Beasts of the Earth and Fishes of the Seas and Conqueror of the British Empire in Africa in General and Uganda in Particular, deposes Milton Obote in Uganda. Charles Manson is convicted. The Apollo 14 mission takes place to rapidly diminishing interest. Rolls-Royce, one of the great symbols of luxury, goes bankrupt and is nationalized by the Heath government. The Seabed Treaty, outlawing nuclear weapons on the ocean floor, is signed by the major countries who should sign something like that. The Weather Underground, in a rare stab at effectiveness, manages to bomb a bathroom in the US Capitol building. The UN formally establishes Earth Day, signaling that the environmental movement has thoroughly gotten underway, and also manages the Convention on Psychotropic Substances, formalizing an international effort to crack down on psychedelics. But perhaps most importantly, it’s Decimalization Day! One of the things that most firmly sticks the UNIT era in the 1970s was the fact that back in Season 7, it visibly used pre-decimal currency. All that comes to an end and we finally learn that Susan was Right as, on February 15th, the UK adopts decimal currency.

While on television, it’s The Mind of Evil. One of the last “missing stories,” like chunks of The Ambassadors of Death, it exists only in black and white now despite having originally been transmitted in color. The result is a mixed bag for the story. On the one hand, the general consensus is that The Mind of Evil actually looks better in black and white than it did in color. On the other hand, being in black and white has left this one of the least remarked upon Pertwee stories (On the Doctor Who Ratings Guide, it has the fourth fewest reviews of any of the Pertwee stories).

Although it may not prove useful through to the end of the Pertwee era, at the moment it is useful to think of the Pertwee era as fundamentally schizoid. There are, if you will, the Two Pertwees.…

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The Doctor is so irritated at Mike and Jo that he’s begun voluntary conversion into a Cyberman just to stop feeling emotions about them.

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Sometimes Wikipedia picks the weirdest frames as its images…

It’s May 9, 1970. Norman Greenbaum continues to be at number one. More alarmingly, at number two is the England World Cup Squad with “Back Home,” the first of many post-1966 humiliations England’s national football team would suffer. Worse, a week later the England World Cup Squad takes number one, holding it for three weeks. It’s unseated by “Yellow River” by Christie, a song in the classic “soldier returning home” subgenre. This lasts a week before Mungo Jerry’s “In the Summertime” plays us out of season seven. The Hollies, Creedence Clearwater Revival, Tom Jones, The Moody Blues, Fleetwood Mac, and The Supremes also chart.

Since The Ambassadors of Death wrapped, the most obvious news story is the Kent State Massacre. This is because 2/3 of my readers are Americans, and mistake inspiring a really good Neil Young song with mattering. All Kent State amounts to is a confirmation that the hippie/anti-war movement was successfully so marginalized that affixing bayonets, advancing towards them, and shooting them dead is not entirely outside of the mainstream. More interesting for us is actually something like Thor Heyerdahl setting sail with a papyrus boat called Ra II to try to prove that it was theoretically possible for the ancient Egyptians to have influenced the design sensibilities of South American civilizations. This is proper 1970s stuff – bewilderingly overreaching theories of human development held together by sticky tape and charisma.

But perhaps most interesting for our purposes, two days before the final episode of this story aired, the UK held a general election in which, in a shock result, Harold Wilson’s Labour government fell and Tory Edward Heath became Prime Minister. Exactly why Wilson went down is a matter of debate, with theories ranging from the fairly improbable (that England did poorly in the World Cup) to the quite likely (a raft of poor economic data doing in the not actively unpopular but not particularly popular Labour government), to the marginal and frankly disturbing (Tories were fired up following Enoch Powell’s River of Blood speech, discussed here). We’ll track the consequences of this through most of the Pertwee era, with one particular consequence taking us all the way through 1990.

While on television… this one’s interesting. Somewhat surprisingly, the Doctor Who Magazine Mighty 200 poll ranks this as the best Pertwee story. Given that I can’t even see how you’d argue it as the best story of season seven, this is a bit of a surprise. Tat Wood suggests that people are more enamored with the idea of Inferno than they are with the actual episodes, and I suspect this is more or less on target.

The biggest problem that Inferno appears to have when you start watching it is a crushing sense that we’ve seen this before. Here we are after two seven part adventures set in scientific installations where mysterious things were afoot, and what do we get? Another scientific installation with mysterious deaths and monsters.…

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What do you mean “homoerotic undertones to the UNIT era?”

It’s March 21, 1970. Lee Marvin continues the apparent obsession with country and western in UK music with “Wand’rin Star,” unseated after only one more week by Simon and Garfunkel’s “Bridge Over Troubled Water,” which lasts until mid-April before being unseated by Dana’s “All Kinds of Everything,” the 1970 Eurovision winner. This is actually mildly controversial, given that Dana herself is from Northern Ireland, but in Eurovision represented the Republic of Ireland. (As you will recall, The Troubles, the lengthy period of unrest between the UK and Ireland, were getting into full force here). Dana is in turn unseated by Norman Greenbaum’s “Spirit in the Sky.” Spirit in the Sky is an interesting piece. Looking at its single cover, in 2011, it looks, frankly, redneck – a bright red cover featuring a photo of a long-haired man in front of an American flag. However in practice, the song is a vaguely psychedelic piece about the afterlife that is treated as a precursor for a lot of glam rock. Andy Williams, Kenny Rogers, Stevie Wonder, and Steam also make appearances.

In other news, the Concorde makes its first flight and the first Earth Day proclamation is made. Ian Paisley wins a by-election to the House of Commons. But more importantly, the seven weeks of these stories surround Apollo 13’s launch, catastrophic malfunctions, and eventual (and damn near miraculous) safe landing – essentially the last time that the public followed space story as an ongoing matter instead of in the aftermath of a fatal catastrophe. But perhaps the most important news story is one of music. This is also the story that was on when The Beatles, who had provided, in many ways, the nearest analogue for the artistic movements of Doctor Who throughout the 1960s, announced their imminent breakup.

I’m not even sure where to begin in terms of pointing out the fitting connections here. The fact that the first stirrings of glam rock – Doctor Who’s next musical parallel – hit #1 the same month as Doctor Who is running an oddly David Bowie-inflected story and where its previous musical influence, the Beatles, breaks up? Or the fact that as the Beatles depart so does David Whitaker, the show’s strongest creative force to date? Or that Doctor Who has its last big space story just as the world’s last big space story is going? We are, as they say, spoiled for choice.

But for me, of course, it has to begin with Whitaker. And end there. And really, be all about that. There’s a lot going on in this story, but look, nothing beats the fact that this is Whitaker’s departure. Mind you, this is not quite a David Whitaker story, whatever the credits might say. Indeed, the last solo story by Whitaker was the sublimely good The Enemy of the World, since The Wheel in Space was a joint venture with Kit Pedler. In this case, Whitaker apparently had trouble working in the new format for Doctor Who (which, to be fair, so was everyone else, as the bewildering ending of The Silurians demonstrated), and furthermore was moving to Australia.…

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Fun fact: The third eye can both burn a hole through a wall and repair it again after. Steven Moffat should really have used that in A Good Man Goes to War.

It’s January 31st, 1970. Edison Lighthouse have been so kind as to depose Rolf Harris, reaching number one with “Love Grows (Where My Rosemary Goes).” It holds number one for five weeks before being unseated by Lee Marvin’s “Wand’rin Star,”  Peter, Paul, and Mary, Jethro Tull, the Jackson 5, Simon and Garfunkel, and Chicago are also in the charts, but perhaps the most interesting thing is the Beatles “Let it Be” debuting at its chart peak position of #2 in the last week of this story. Also in music news, Black Sabbath releases their first album, effectively establishing heavy metal music.

Elsewhere, avalanches and train crashes give everything a nice disastrous feel. But here’s perhaps the more interesting thing. Something we have to remember about 1970 was that what we now call “the sixties” was not entirely and firmly tied to the calendar decade. What I mean by this was that hippies and the like did not simply roll over and die at the strike of midnight on January 1st. Case in point, Jeffrey R. MacDonald, a US Army officer, murdered his entire family and then claimed “drugged out hippies” had done it. This, however, is really just a reference to the Manson murders, another story that unwound over the six months between seasons. The significant thing about the Manson murders is not the murders themselves, which are just a sightly more homicidal version of Jim Jones, David Koresh, or the Heaven’s Gate cult. No, what’s significant about the Manson killings is the fact that they fed a story that hippies were dangerous. Note that the prosecution in the Manson murders stuck closely to arguing the connection between the Beatles and hippie culture. The central idea of the Manson murders and the reason they grabbed the popular imagination was because they featured the real fear of evil hippies. This, again, shows us how quickly things were collapsing and changing.

Other news involves the Weathermen, America’s most hilariously toothless domestic terrorist organization, inadvertently blowing three of their own members up (two more than the death toll of non-members across their bombing campaigns). The Poseidon bubble, a bizarre speculative bubble involving Australian nickel mining, bursts. Rhodesia fully separates from the UK, and still nobody supports their existence. And the Chicago Seven are acquitted.

Interesting times in other words. On television it’s interesting as well, with The Silurians, mistakenly broadcast under the title Doctor Who and the Silurians, airing. The Silurians is interesting for a couple of reasons. It’s the first solo script of Malcolm Hulke, who has previously co-authored for both Season 4 and Season 6. But this is perhaps less interesting than the fact that it’s the first Pertwee script by an avowed skeptic of the Pertwee era. This is ironic given that of the eight scripts Hulke was involved in for Doctor Who, six are in the Pertwee era.…

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