1. In 1953, Gerry Thomas came up with TV dinners to help what company get rid of boxcars full of unsold turkeys?
A. Birds Eye
B. Green Giant
C. Stouffer’s
D. Swanson
2. Giovanni Riccioli started naming these for astronomers. Now there’s one on the moon named for Riccioli himself. What?
A. Canals
B. Canyons
C. Craters
D. Seas
3. Return with us now to those thrilling days of yesteryear, and the adventures of what radio hero?
A. Captain Video
B. Doc Savage
C. The Green Hornet
D. The Lone Ranger
4. Lamine Gueye had a bit part in the Bond film “Moonraker.” But he was also an Olympic downhill skier from what country not exactly known for its snowy hills?
A. Argentina
B. Iceland
C. Mongolia
D. Senegal
5. Who is credited with writing 14 of the books in the New Testament?
A. Jesus
B. John
C. Paul
D. Peter
6. Rearrange the scenes in this movie in the order they occur. The film would start with Butch getting his father’s watch and end with him riding off on Zed’s chopper. What re-edited movie is this?
A. “Easy Rider”
B. “The Motorcycle Diaries”
C. “Pulp Fiction”
D. “Quadrophenia”
Answers
1. D. Swanson created the TV dinner.
2. C. That was craters.
3. C. The Lone Ranger’s adventures of yesteryear were quite thrilling.
4. D. Lamine Gueye was the first Winter Olympian from Senegal.
5. C. Paul wrote a good chunk of the New Testament, despite having never met Jesus. 6. C. “Pulp Fiction” is shown out of sequential order.
Email Paul Paquet at [email protected]; go to triviahalloffame.com.
facts of the day
The music that plays over the last question on “Jeopardy” has a name: You call it the “think music,” but it is actually named “Time for Tony.” Merv Griffin wrote it as a lullaby for his son. He has since made some $70 million in royalties. During a college tournament hosted at Yale University, the tune was sung a cappella by the Whiffenpoofs.
George Gershwin’s symphonic poem “An American in Paris” brought jazz influences to classical music (or vice versa, if you see it that way). He wanted to reproduce the sound of being in Paris, and to that end brought home actual Parisian taxi horns, which he used in the score. The horns were also used when the piece debuted at Carnegie Hall in 1928.
