Tag: popular culture

We last discussed the first side of the seminal album, Quadrophenia, by The Who, entirely written by Peter Townshend.  Since that time I have done more extensive research, and found some interesting things that I hope will be illuminating for everyone.  They were for me.  Without too many details in the introduction, I can say with a good bit of confidence that this record almost dissolved the band.

Roger put Pete in hospital with punches, Kit was almost banned, and the fraud that the management was doing to the band was discovered.  That was part of the genesis for the song “How Many Friends Have I Really Got” that was part of The Who by Numbers some time later.  But there is more!

I have a frank correction to make, and then what is more like a clarification as to the original characters who were combined to make Jimmy.  I also have a stupid one to make, about the name of the album itself.  Shall we begin?

I apologize for posting late tonight, but a very rare event happened.  The International Space Station made a transit directly overhead at posting time, and I did not want to miss it.  Besides, my lovely friend wanted to watch it with me.  It was a spectacular sight, and the ISS was not bad, either, LOL!

Second, I was going to add a new crosspost site that is run by our friend ninkasi23, but never figured out how to make it so.  I trust that she will email or call me to help me over my stupidity.

I was going to write about the compilation album, Meaty, Beaty, Big, and Bouncy this time but we have already discussed every song on that record.  However, I will make a comment about the title.

Most people think that the title was just sort of a dirty joke, but it actually was a description of the band members.  I think that Lambert came up with it, but I am not really sure.  Here is the meaning:

At the time, and still, Daltrey was pretty fit, so he was Meaty, meaning all muscle and no fat.  Moon, of course, kept the beat, so he was Beaty.  Entwistle, aka The Ox, was a really big guy, and of course Townshend was always leaping about the stage, so he was Bouncy.  Now you know, as Paul Harvey used to say, the rest of the story.

Freaks and Geeks is one of the few TeeVee shows with a predominately child and adolescent that ever had much appeal to me.  Part of the appeal was that the program was masterfully written and directed, and another part is that the acting was really very good.  It ran only for one season, 1999 through 2000, and even then not all of the 18 taped episodes were aired.  It was an NBC show and was the precursor for later, more successful shows like That ’70s Show.

Even though it aired in 1999 and 2000, it was set in 1980 in a made up suburb of Detroit.  The production team did a really good job with getting the period right, in particular the cars that were often used as unifying devices in several episodes.  I have to tell you a personal reason that I immediately liked the show.  As a really big admirer of SCTV, the fact that Joe Flaherty was cast as the father of the protagonist made me watch faithfully.

Sometimes I wright about bands that are not my favorites, but that had several nice songs.  10cc is one of them.  I own not a single record of theirs, but always thought that they were pretty good.  Not spectacular, but pretty good.  I am a casual listener, and until I began my research I did not even realize that they from the United Kingdom.

I should have known because of the song Rubber Bullets, but they use them here as well.  They were really pretty good, and at their best could express emotion extremely well, to the point of causing tears now and then.  Nothing like The Who, but still pretty good.

What I intend to do tonight is just to give a short survey of 10cc, not a deep analysis like I do with The Who.  I am sure that many of you are bored with my long and ponderous explication of the work from The Who, so this is sort of a break from it.  Also, I am changing my convention for names of bands, albums, and songs.  As before, the name of the band will always be in bold, and the name of the album in italics.  Starting now, the names of individual songs will be in italics, but with “quotation marks before and after” to do a better job of distinguishing the songs from the albums.

This is an extremely difficult piece to write, because the only living soul who understands it is Peter Townshend, and he still has a bit of difficulty articulating the concept in terms that we mere mortals can understand.  This is not in any way a criticism of Mr. Townshend, but more of a comment of my own poor understanding of his high goals.

In a nutshell, perhaps a cracked one, the concept for Lifehouse was sort of like A Brave New World, or 1984, in that society has been overtaken by a monied elite and thought suppression was the norm.  Does that sound timely?  I think that Townshend has presaged the ideas that the “modern” Republican Party is trying to impress on us all, but perhaps I give him too much credit.  I think not.

The concept that I finally came with was that individuality was suppressed, and group think was being imposed by the technocrats that ruled.  I ask for everyone’s thoughts on this, because it is so hard to decipher.

I am very sorry, folks, but I was in a hurry to finish up the piece and there was a horrible traffic tie up before I could get home.  I got home late, and was finishing up the 21st song out of 24 when I fat fingered my keyboard, wiping out almost everything.

That teaches me, regardless of the venue, to save after EVERY paragraph.  It would not have made any difference if I had been writing in Word, or Works, or at any blog site.  If one does not save work, it gets lost.  However, there is a bit of a workaround.

Load up Lazarus for Firefox and it can help.  It is not perfect, but if I had been using it, I would lost only the two or three paragraphs before my keyboard mistake.  I still do not know what I did, but I now save after EVERY paragraph!  I use it now, although I am not sure how well it works.

It is disheartening to lose so much work, but there is a silver lining to that black cloud.  Next week the piece will be much better, because I had time to think about it and improve it.

Those of you who read my pieces know that I often write about my favourite band, The Who.  (I used the UK spelling intentionally this time, rare for me these days).  This time we shall examine what many people say was their finest work.  I am not sure that I agree completely, but it was extremely good.

Who’s Next is actually a compilation of songs, most from Townshend, that became an album after the ill fated Lifehouse project, Townshend’s opus, never came to light.  He finally finished it, many years later, but the final product was far different than this record.  We shall discuss Who’s Next tonight, and will continue the discussion about Lifehouse next week, after I see your comments and questions.

First let us get to the facts.  Ready to go?

This is a bit of a departure in that I almost always write about things that have occurred in the past.  Tonight is is about something that is scheduled to happen in future.  I do not know about all of your tastes, but a cruise does not ring my bell as the ideal vacation for several reasons.

First, I like to make my own decisions.  That is why road trips are good.  You can go wherever you want, for good or ill, but the choice is yours.  The driver(s) control the destination.  On a cruise, that is not possible unless disaster strikes.

Second, with a self directed trip, one can choose his or her companions.  That is not possible on a cruise.  One never knows who will be in the next cabin.

Third, if one is driving, one can just stop and reconsider what is going on, and if one is not enjoying the trip, can turn around and just go home.  That is not possible on a sea cruise, unless one becomes violently ill (and that happens more often that the corporations that arrange them would like people to know).

With no more ado, here is my nightmare of a cruise from Hell.  The thing is just this:  I did not make it up from whole cloth.  It is being advertised on the Fox “News” Channel!  Here we go!

Donald Jay “Don” Rickles (I like it that he uses his own name, and I would here but would have to give up my low UID to do so) is unique.  I am actually not that fond of him, but he is an American icon.  Born 19260508, he is now 85 years old, and going strong!  That is quite an accomplishment just by itself!

His trademark is really being a jerk.  I am a jerk unintentionally from time to time, and when I am a jerk, the results are usually not very good.  He does it intentionally, and that seems to work for him.

I was going to write this piece about a completely different subject, but had what I call the Jay Leno TeeVee Show on for background noise, and Rickles was one of the guests.  I thought that he was dead, but I guess that I had him confused with Rodney Dangerfield.

Last week we examined the original vinyl record of Live at Leeds.  Due to the technological limitations of vinyl, it was only about 45 minutes, give or take a couple, long.  The album was rereleased in 1995 on CD, and because that medium is capable of much more time, around two hours, many more tracks were added that had been recorded at the time.

Tonight we shall listen to those tracks and discuss whether or not we think that they are good.  I think that they are all no worse than very, very good and that many of them are outstanding.  Please listen and tell me what you think.  For those of you who have not signed up for an account, please do so so that you can comment in future.

Let us get started.

Live at Leeds was the first live recorded record album by The Who that was legitimate.  There were plenty of rather crudely recorded, pirated versions of many of their live performances, but back in 1970 those analogue ones, mostly recorded by audience members under cover, rapidly were degraded by the very process of analogue to analogue copying, making even third generation copies almost unintelligible.   That is too bad, because some of those performances were great.

After the huge success of Tommy, and the concomitant success of the associated tour, Kit Lambert and The Who decided to record an actual live record that would capture their sound.  Live at Leeds did it well, but was too short because of the limitations of vinyl records at the time.  Remember, and I have covered this topic before, only 45 minutes, give or take a few, were possible with the vinyl technology at the time.

Let us examine what is really a wonderful record.  Note that there is very little video available, so that just the music is usually given here.  By the way, the album charted at #3 in the UK and at #4 in the US.

Hello, all!  This installment was inspired by Kossack dsteffen who correctly identified a rather obtuse reference to the abovenamed comedy troupe in the comments at the big orange Wednesday past on My Little Town.  I gave him two honorable mentions in the comments there, but perhaps this more than honorable one will get him some notice.

The Firesign Theatre was, and continues to be still, a very bizarre and very funny comedy troupe.  This is going to be an extremely difficult piece, because most of their work was on vinyl, and around 45 minutes long.  In addition, everything sort of interlocked, so what is hilarious in context is likely to fall flat without the previous half hour or so of it.

I shall attempt to extract the ones that can sort of stand alone, and for the ones that do not shall attempt to include what might seem to be rather long pieces that do not make sense until the end.  Hey, that is what we do here sometimes.