Tag: popular culture

This may be a bit of an enigmatic title, so I shall explain posthaste.  I have quit listening to and watching the extreme right wing talkers.  I have monitored them for years, so you do not have to do so, but I finally just had enough, and could not take it any more.  There are a couple of reasons, but the largest one was that I was stupider after listening than before.

Ma always told me that after I read a book, listened to a radio program, or watched a TeeVee show to ask myself one question:  what have I learnt?  In the case of the radical, hate filled, ultra right wing talkers, NOTHING lately.  I learnt some time ago who they were and what they were preaching, and it is nothing but hatred and fear.  I guess that I was just listening more recently for how they would do it.

That is enough.  I am gone.  I quit listening to the drug addled and deafened Limbaugh some months ago because all he does is bellow.  More to follow.

This shall complete our discussion of Tommy, the seminal record album by The Who from early in 1969.  We had an excellent discussion last week, and hope to have an equally good, if not even better one tonight.  I was particularly interested that there was a range of thoughts about it, from some who just hated it to those who just loved it.  That is fine.  That is just personal taste.

I should go on record to say that my mum liked Overture.  She was pretty reserved about music other than the Swing Era kind, since she came of age then, but allowed to me that she really liked the French horn.  I was pretty dumb at the time that we were listening to, on the radio, one of the most important bands that ever existed.

With no more ado, here is the second disk (the third side) of Tommy.  Please comment profusely.

In 1969, the seminal Tommy was released by The Who.  Track Records, The Who’s own brand, in collaboration with Polydoor was the UK record company, and in the United States Decca was.  I have a mint Decca one.  It was billed as the first rock opera, but it actually was not.  There had been at least a couple before Tommy came to us.

Not counting the composition effort (by far the bulk of it by Pete Townshend), it took the better part of year to record, edit, and redub the work.  This was Kit Lambert, their producer, at his finest, and also extremely fine efforts by all of the band and the production and engineering staff.  It is truly a masterpiece.

This piece is a result of a couple of pieces that I have written before and some interaction in comments on pieces from others about prescription drugs advertisements.  They are rife in the popular culture these days, on TeeVee, on radio, and in print.  I really think that this is a horrible idea, and will explain as time progresses.

First, I must do a bit of historical treatment.  When I was in pharmacy school (I did not stay long, because I decided that I should be on the other side of the wall, developing new drugs, but that did not work out either) adverts for prescription drugs were only allowed in professional medical journals.  I mean it.

Those you 50 or older will probably, if you think hard enough about it, days when these drugs were not in the popular media.  Some of you might also recall that tobacco adverts were!  I still remember the jingles for cigars and cigarettes.

I am assuming that tomorrow will not be the end of the world, as the Camping followers believe, so did not write about The Who for the last time tonight.  This piece proves the point that I do not always write about things that I really like.  This was not really a bad band, but in my opinion were not that important creatively.  Some, perhaps many, will beg to differ me, and that is fine.  I do not really dislike them, but they would not make it into my “stranded on a desert isle” box of music.

They actually had quite a few hits that charted well, a TeeVee show, and of course laid the groundwork for the later solo career of Kenny Rogers.  He moved towards country and out of rock later, and this post only includes treatment of The First Edition material.

First of all, this is really a very poorly titled record album.  It had nothing to do about being on tour.  It is actually their first compilation album on Decca, their American label.  When this came out in 1968, the way that songs were released was a bit different than later, but it looks like, in the digital age, we are sort of returning to the older ways.

Back then, the single ruled (actually, they were doubles, 45 RPM vinyl pressings with an “A” side (the “good” song) and a “B” side (the ugly cousin)).  That ceased to be the norm after around 1969 or so, when the album started to dominate and singles were released in accordance with how well specific tracks on the album got airtime.

In any event, this is a compilation from many singles the The Who had released over several years.  It had a companion in the UK, and we shall discuss that presently.

For those of you who read my pieces (here, and my other two regular series, Pique the Geek and My Little Town), you know that I appreciate multitalented individuals.  This artist certainly fulfills that criterion.  Not only a talented musician himself, he is also a studio wizard, outstanding technician, and excellent music producer.

I am not his biggest fan, but I do appreciate his talent and like very much several of his original works.  Please do not take this statement as holding him in some sort of dislike:  I like him very much but there are others that I like better.  This is not to detract from his contributions, but rather to describe my musical tastes.

He has been around for a long, long time with no apparent sign of quitting.  Please come with us to examine the career and some of the better (in my opinion) work of this creative genius.

Self-deception is not a new cultural phenomenon, but it has always been popular.  Self-deception takes many forms.  Some kinds are harmless, such as the almost universal one of thinking that one is more attractive than one actually is.  Others can be devastating, such as thinking that one is, for example, thinking that one is obese when actually he or she is seriously underweight.  Interestingly, both of these conditions have to do with self image.  As a matter of fact, many kinds of self-deception have to do with self image.

There are other kinds as well.  In many of those cases it is not just an individual having deceptive thoughts herself or himself, but rather is encouraged to cleave to ideas that the individual probably deep down believes not to be true.  This is the basis of the idea of propaganda, when ideas are planted by outside sources.  There is one big movement that is current and we shall talk about it at some length.  

Most of you that read my posts know that I am an avid fan of Doctor Who.  I am not ashamed of that at all, and like the new ones very much, but they are not anything like the classic ones that ran from 1963 to around 1980 or so.  Those ones had the classic Doctors, Hartnell, Throughtan, Pertwee, and especially Baker.

They all had companions.  I liked lots of them, Jamie, Granddaughter (Susan, and they still have not explained that companion, his first, from 1963!).  But the most wonderful companion was Sarah Jane Smith, an investigative journalist.  She way played by the extremely attractive Elisabeth Sladen, who just departed from us this week.  Not only was she a companion for over three and one half years, she, unique of all others, returned many times to reprise the same character.  She was 65 years old, and had been married to the same man since 1968.

The Who Sell Out, the third album by The Who, was their finest to date and in my opinion is still one of their best works.  To be sure, it fell short hither and thither, but I think that it was great.  There are a number of reasons why it is so good, one of them being Kit Lambert once again producing.  As you recall from the previous installment, he was so much better than the hack Shel Talmy that there is really no comparison.

Another reason that it was so good was that it has a lot of energy for a studio album.  The third reason that I shall cite is that it was one of the very first concept albums, in that there was a unifying theme throughout the record.  Since it was on vinyl, it only runs around 37 minutes, so lots of material got scrapped when the final edit was done.  I shall include some of that material late in the piece.

Many of you will remember eight track tapes, once very popular for automobile and boating use.  Many more of you youngsters will not remember them, they became pretty much obsolete around 1980.  However, for almost two decades they were the medium of choice for automotive applications.

The eight track tape did not just “happen”, but was developed from other inventions.  It turns out that demand was increasing for high fidelity sound in cars in the late 1950s.  FM radio was just getting started (the FCC had only approved FM stereo in 1951), and lots of folks wanted better (and more to their own taste) quality music.  Thus, the eight track tape was developed.

Happy Jack was the second album released by The Who and their second studio album. It was released in the UK with the title A Quick One.  That was a little suggestive for Decca Records, the US label and the single Happy Jack has charted in the US, so that title was used.  The song lineup is a little different betwixt the two records as well, Happy Jack not being on the UK version.

Released in the UK 19661209, it was delayed in the US for almost six months, finally being released in 196705 (I am not sure of the exact day).  This record was truly transformative, and is one of my personal favorites.  It was this album where Townshend really showed that the was a writing force with which to be reckoned, and he took some risks that he would not have taken previously for a large reason:  the brilliant Kit Lambert had replaced the hack Shel Talmy as the producer of the band.