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The Good Old Times
- Thread starter Jimi
- Start date
That is pretty
go pinch it for me jimmi
When they started removing these from playgrounds, I asked why. When they said kids were getting hurt, I asked them to name even one.
gross
modern wrapped in cotton wool kids, their parents would freak out if the caught a cold.
green apple! followed by watermelon
All of the above...END of DEBATE
Remember back when folks always said you needed to use your head for something other than a hat rack? Yeah. Good old times.
Kids these days will never need to hear that, because they really first need to learn to use their hands as something other than selfie sticks.
Kids these days will never need to hear that, because they really first need to learn to use their hands as something other than selfie sticks.
In early 1970, Mary Tyler Moore walked into a tense meeting with CBS executives wearing her trademark poise, but underneath, she was ready for a fight. The network had signed on for "The Mary Tyler Moore Show," but their discomfort with its central concept was quickly surfacing. Moore’s vision for Mary Richards, a single woman, never married, working in a Minneapolis newsroom, clashed sharply with the conservative instincts of CBS leadership, who preferred their female leads married, divorced, or at least dating someone steadily.
Executives floated suggestions. What if Mary Richards had recently divorced? What if she had a boyfriend we see often? What if she was looking for love? Moore, calm but resolute, dismissed each one. She didn’t want to tell the story of a woman defined by romantic relationships. She wanted to portray a woman defined by her work, her friendships, and her independence.
Her then-husband, Grant Tinker, co-founder of MTM Enterprises, shared her conviction. But they both knew CBS held the power to cancel the show before it even aired. So they played their only card: walk away. In a private conversation that week, Tinker told CBS, “If this is not the show we get to make, Mary is out. And so am I.” For Moore, it wasn’t only about creative control. It was about being honest with her audience, particularly the women who were starting to live lives like Mary Richards, single, professional, and unapologetically self-sufficient.
The battle had been building long before this confrontation. In 1969, Moore had grown tired of the roles she was being offered, always wives, always defined by their husbands. She wanted more. She and Tinker started MTM Enterprises with the specific goal of developing projects that reflected their ideals. When they pitched the show to CBS, they offered a full pilot script that painted Mary Richards as funny, sharp, and emotionally complex. There was no divorce in her past. No man waiting in the wings.
CBS initially passed.
Moore later recalled a chilling moment in that first rejection meeting. A CBS executive looked her straight in the eye and said, “We don’t think America is ready to watch a woman who isn’t a wife or ex-wife.” Moore, in a calm but steel-edged voice, answered, “Then they’ll have to get ready.”
Weeks later, after reconsidering the strength of the writing and Moore’s undeniable star power, CBS reversed course and greenlit the show, but with strings attached. Scripts were to be vetted. Network notes would be mandatory. Moore and Tinker agreed on paper. But behind the scenes, they waged a daily battle to keep those notes from reshaping their vision.
Writers like James L. Brooks and Allan Burns, who shared Moore’s perspective, were often caught in the middle. In one now-legendary moment during the first season, a CBS executive objected to an episode where Mary Richards negotiated a raise. “It’s too aggressive,” he warned. Moore responded directly: “It’s truthful.”
The episode aired as written, and viewers loved it.
By season two, CBS had stopped questioning Moore’s choices. Ratings were strong, critical acclaim poured in, and the character of Mary Richards was quickly becoming an icon. But the early months left their mark. Moore confided to a close friend in 1971, “I go home some nights shaking, not from nerves but from anger. I’m tired of defending the truth.” It wasn’t about ego. Moore understood that if she surrendered once, even slightly, the network would own the story. And the story mattered too much to hand it over.
Her refusal to compromise opened doors for countless women in television who followed. But for Moore, it was deeply personal, a battle to preserve the integrity of a woman she believed the world needed to see. And she made sure the world saw her.
Executives floated suggestions. What if Mary Richards had recently divorced? What if she had a boyfriend we see often? What if she was looking for love? Moore, calm but resolute, dismissed each one. She didn’t want to tell the story of a woman defined by romantic relationships. She wanted to portray a woman defined by her work, her friendships, and her independence.
Her then-husband, Grant Tinker, co-founder of MTM Enterprises, shared her conviction. But they both knew CBS held the power to cancel the show before it even aired. So they played their only card: walk away. In a private conversation that week, Tinker told CBS, “If this is not the show we get to make, Mary is out. And so am I.” For Moore, it wasn’t only about creative control. It was about being honest with her audience, particularly the women who were starting to live lives like Mary Richards, single, professional, and unapologetically self-sufficient.
The battle had been building long before this confrontation. In 1969, Moore had grown tired of the roles she was being offered, always wives, always defined by their husbands. She wanted more. She and Tinker started MTM Enterprises with the specific goal of developing projects that reflected their ideals. When they pitched the show to CBS, they offered a full pilot script that painted Mary Richards as funny, sharp, and emotionally complex. There was no divorce in her past. No man waiting in the wings.
CBS initially passed.
Moore later recalled a chilling moment in that first rejection meeting. A CBS executive looked her straight in the eye and said, “We don’t think America is ready to watch a woman who isn’t a wife or ex-wife.” Moore, in a calm but steel-edged voice, answered, “Then they’ll have to get ready.”
Weeks later, after reconsidering the strength of the writing and Moore’s undeniable star power, CBS reversed course and greenlit the show, but with strings attached. Scripts were to be vetted. Network notes would be mandatory. Moore and Tinker agreed on paper. But behind the scenes, they waged a daily battle to keep those notes from reshaping their vision.
Writers like James L. Brooks and Allan Burns, who shared Moore’s perspective, were often caught in the middle. In one now-legendary moment during the first season, a CBS executive objected to an episode where Mary Richards negotiated a raise. “It’s too aggressive,” he warned. Moore responded directly: “It’s truthful.”
The episode aired as written, and viewers loved it.
By season two, CBS had stopped questioning Moore’s choices. Ratings were strong, critical acclaim poured in, and the character of Mary Richards was quickly becoming an icon. But the early months left their mark. Moore confided to a close friend in 1971, “I go home some nights shaking, not from nerves but from anger. I’m tired of defending the truth.” It wasn’t about ego. Moore understood that if she surrendered once, even slightly, the network would own the story. And the story mattered too much to hand it over.
Her refusal to compromise opened doors for countless women in television who followed. But for Moore, it was deeply personal, a battle to preserve the integrity of a woman she believed the world needed to see. And she made sure the world saw her.
We ARE THE GENERATION THAT WILL NEVER COME BACK
A generation that walked to school and then walked back
A generation that did their homework alone to get out asap to play in the street.
A generation that played spent all their free time on the street with their friends
A generation that played hide and seek when dark
A generation that made mud cakes
A generation that collected sport cards
A generation that found, collected and washed & returned empty coke bottles to the local grocery store for 5 cents each, then bought a mountain Dew and candy bar with the money
A generation that made paper toys with their bare hands.
A generation who bought vinyl albums to play on record Player
A generation that collected photos and albums of clippings.
A generation that played board games and and cards on rainy days.
A generation whose TV went off at midnight after playing the national anthem
A generation that had parents who were there
A generation that laughed under the covers in bed so parents didn't know we were still awake
A generation that is passing and unfortunately it will never return!!
I loved Growing up when I did
A generation that walked to school and then walked back
A generation that did their homework alone to get out asap to play in the street.
A generation that played spent all their free time on the street with their friends
A generation that played hide and seek when dark
A generation that made mud cakes
A generation that collected sport cards
A generation that found, collected and washed & returned empty coke bottles to the local grocery store for 5 cents each, then bought a mountain Dew and candy bar with the money
A generation that made paper toys with their bare hands.
A generation who bought vinyl albums to play on record Player
A generation that collected photos and albums of clippings.
A generation that played board games and and cards on rainy days.
A generation whose TV went off at midnight after playing the national anthem
A generation that had parents who were there
A generation that laughed under the covers in bed so parents didn't know we were still awake
A generation that is passing and unfortunately it will never return!!
I loved Growing up when I did
what did you get up to in the years 1845 - 1890 jimmi?
I may have been born during that time, but grew up hanging out with people that never grew out of the hippie phase.
you missed out on riding stage coaches, avoiding red indians, and avoiding dinos jimmiWe ARE THE GENERATION THAT WILL NEVER COME BACK
A generation that walked to school and then walked back
A generation that did their homework alone to get out asap to play in the street.
A generation that played spent all their free time on the street with their friends
A generation that played hide and seek when dark
A generation that made mud cakes
A generation that collected sport cards
A generation that found, collected and washed & returned empty coke bottles to the local grocery store for 5 cents each, then bought a mountain Dew and candy bar with the money
A generation that made paper toys with their bare hands.
A generation who bought vinyl albums to play on record Player
A generation that collected photos and albums of clippings.
A generation that played board games and and cards on rainy days.
A generation whose TV went off at midnight after playing the national anthem
A generation that had parents who were there
A generation that laughed under the covers in bed so parents didn't know we were still awake
A generation that is passing and unfortunately it will never return!!
I loved Growing up when I did
Darn
gopher_byrd
Cranky Old Fart
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I get all 14
I get all 14
Yup, me too. All of 'em.
Done every one of them.
I get all 14
Give yourself extra points for each one you built.
Hey I get extra points
They call us "The Elderly"
We were born in the 40-50-60’s.
We grew up in the 50-60-70's.
We studied in the 60-70-80's.
We were dating in the 70-80-90's.
We got married and discovered the world in the 70-80-90's.
We venture into the 80-90’s.
We stabilize in the 2000’s.
We got wiser in the 2010’s.
And we are going firmly through and beyond 2020.
Turns out we've lived through EIGHT different decades...
TWO different centuries...
TWO different millennia...
We have gone from the telephone with an operator for long–distance calls to video calls to anywhere in the world.
We have gone from slides to YouTube, from vinyl records to online music, from handwritten letters to email and Whats App.
From live matches on the radio, to black and white TV, colour TV and then to 3D HD TV.
We went to the Video store and now we watch Netflix.
We got to know the first computers, punch cards, floppy disks and now we have gigabytes and megabytes on our smartphones.
We wore shorts throughout our childhood and then long trousers, Oxfords, flares, shell suits & blue jeans.
We dodged infantile paralysis, meningitis, polio, tuberculosis, swine flu and now COVID-19.
We rode skates, tricycles, bicycles, mopeds, petrol or diesel cars and now we drive hybrids or electric.
Yes, we've been through a lot but what a great life we've had!
They could describe us as "exennials," people who were born in that world of the fifties, who had an analog childhood and a digital adulthood.
We've kind of "Seen-It-All"!
Our generation has literally lived through and witnessed more than any other in every dimension of life.
It is our generation that has literally adapted to "CHANGE."
A big round of applause to all the members of a very special generation, which will be UNIQUE!
tv and computers lol
no people either but with furniture like that they more than likely ran away!
gopher_byrd
Cranky Old Fart
VU Donator
Diamond Contributor
ECF Refugee
Member For 5 Years
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Still got a few in my town. Mostly Mexican, they have some great salsas and stuff you won't find in the bigger stores.Remember the small grocery stores, they are a thing of the past here, big box put them out
i would tather go to 6 small shops and get what i need rather than a bloody supermarket, there was a greengrocer right beside a supermarket he kept lowering the price of something ,but as soon as he did they went lower! one bloody item just to beat him to get more customers!Remember the small grocery stores, they are a thing of the past here, big box put them out