Harve Bennett, who was responsible for the production end of many classic mid-1970s fantasy programs, like The Six Million Dollar Man, as well as some of the more memorable Star Trek theatrical releases, died Wednesday, March 4, in Medford, OR. He was 84.

Born in Chicago and a graduate of California’s USC Film School, Bennett did a stint in the Army before settling into the production end of show business, eventually become Vice President of ABC Programming for a spell. Post this position, Bennett became a full-fledged producer at Universal Studios, helming the classic late 1960s/early 1970s youth-are-cops Mod Squad and sci-fi/fantasy yarn styled programs such as the aforementioned Six Million Dollar Man, the spinoff gender bender of The Bionic Woman, as well as miniseries and other programs like Rich Man, Poor Man and 1975 television adaptation of The Invisible Man series.

One of the biggest smash films of 2014 was Guardians of the Galaxy. Marvel’s wild, fun, fantastical, star-filled, and epic production had plenty of memorable scenes, moments, and especially, in an unexpected vintage and retro sense, music. It was the Awesome Mix Vol 1 cassette seen in the film that nonetheless that played a big part in Guardian‘s narrative and remains one of the more memorable artifacts from a movie full of them.

And now, you can own your very own Awesome Mix Vol 1, right down to a replica of the cassette tape itself used in the film, as Disney has re-released the product after its initial sold-out run last year. The cassette, which contains the film’s official soundtrack — currently available on CD, MP3, and vinyl — and comes with a free digital download of the album.

In conjunction with Rush celebrating their 40th anniversary with a tour this year, a limited edition hologram vinyl of the album 2112 will be released on March 17, 2015, and is available for pre-order right now. (Purchase of the vinyl comes with a FREE MP3 version of this album.)

Check out the sneak peek video of the vinyl in action here below.

For those of us who grew up as kids during the 1970s, amidst a sea of bell bottoms, day-glo colors and hair and fashion that became wildly anachronistic as soon as it was introduced, one of the great joys was watching children’s programming on television. From Saturday mornings to weekday afternoons, there was a high amount of kids shows to be watched and re-watched again and again, mainly animated fodder ranging from funny (Warner Brothers cartoons) to action-packed (Johnny Quest) to all in between (Scooby-Doo). There were also live-action programs that were produced, mainly by the brothers Krofft, Sid and Marty respectively, which were equally as popular and now, mired in the zeitgeist of the times as quintessential 70s artifacts.

One of the most popular programs that came from their production studios was Sigmund and the Sea Monsters, which is now getting a TV reboot from Amazon Studios via a pilot order.

Gary Owens, who had one of the most memorable baritone voices in entertainment history and who used that voice in a myriad of different scenarios, ranging from being the announcer on the 1960s smash TV show Rowan and Martin’s Laugh-In to the voice of Space Ghost, died on Thursday, February 12, 2015, at his home in Los Angeles, CA, according to CNN. He was 80. The cause of death is complications of Type 2 Diabetes, a condition that the entertainer had had since he was a child.

Owens, with his distinctive look — mustachioed with glasses, almost like a Stan Lee in many ways — never seemed to take himself seriously with his fun, charming, and gregarious manner. Yet when his voice inflections boomed through the airwaves, he sounded like he was the most serious man in the room. Reading manically wacky one-liners and joke after joke on Laugh-In (which was a number one show for multiple seasons on NBC during the late 1960s) with a deadpan and instantly memorable style, Owens had the rare quality, like a Don Pardo, of an instantly recognizable voice, known by the masses coast-to-coast, yet not many people knew what he looked like. During Laugh-In, he was on camera for the most part, always appearing hilariously urgent in his verbal diction, hand cupped to ear and dressed in the manner of a respected newsman, usually with three-piece suits and an air of professionalism. It all acted as perfect counterpoint to the inanity Laugh-In presented.