Tag: Popular Culture

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.

Last week a commentator put the bug in my ear that I do not ALWAYS have to write about subjects that I like very much.  I have done it before, but usually in connexion with other topics.  This installment is different.

This one is concerned with Pat Boone, one of the most insipid and untalented “artists” ever to plague us with his presence.  He was a creation of his time, and although he could sing, sort of, was and still is, in my opinion, more of a curious relic of desegregation.

Please come with us on a very curious journey that still does not very well explain how a relatively talentless individual has continued to be in the spotlight since before I was born, and I am not that young.  Please enter here.

This is the first part of a comprehensive treatment of the albums released by The Who.  This promises to be an extremely long series, but I shall intersperse it with other topics from time to time, to keep it from being too monotonous.

I know, but still can not understand why, some folks are not fans of The Who.  LOL!  This was their first album, and was quite good in some respects, and weak in others.  They had already had some hit singles, but nothing astounding as of yet.  Note that I am using the U.S. discography by default, since I am in the United States.  Where possible, I shall cross reference it to the U.K. one.  Note that we shall take the studio albums first, then the live ones, and then attempt the very long list of compilations.

I have written about The Who many times before, but have never started at the beginning of their album career to cover it from then to now.  I hope that you like the effort, and some of the excellent music that I shall embed.

I love to be able to fuse two topics into one!  Since almost the beginning of TeeVee, there has been theme music for its programs.  Many of you will remember lots of them, but there were some programs without music, the very first TeeVee image being one of them, although it got a theme later.  Does that pique your interest?

TeeVee became widely available in the late 1940s, in large part because of the revolutionary improvements in electronics because of the necessity of the war effort.  However, there is a backstory to that as well:  after the war was over, there was a flood of components that were military surplus, available for cents on the dollar, to be had by manufacturers.

TeeVee had been invented long before World War II, but the components were rare and expensive.  Because of the glut of surplus components, TeeVee became widely available, but that is more of a Pique the Geek piece.

One might expect that a band that was formed FIFTY YEARS ago this year might have some significant connexions with others, and one would be correct.  That is a long time ago, and The Zombies were early, British, and quite good.  They were not as prolific as many other bands, and almost became victims of their own success in a manner of speaking.

Interestingly, The Zombies were always more popular in the United States than they were in the United Kingdom.  I have no explanation for that other than the hypothesis that when they were getting “hot”, other bands like The Who, The Rolling Stones, and The Beatles were getting even hotter in the UK.

Please come with me to review the career of this very, very underrated British Invasion band.  As a preview to Pique the Geek for Sunday evening at 9:00 PM Eastern, the topic for the evening will be a new installment to my off and on series about firearms, this time about the propellants black powder and the modern smokeless powders, with a nod to Pryodex(r), a more modern substitute for black powder.

There are bands and there are bands.  This band has gone through so many transitions that even I, The Geek, can not keep up with all of them, but I do know that in their original lineup that they were close to, if not actually, great.

Deep Purple were a sort of late on the invasion set band from England, only releasing their first record in 1968.  They did some original material, but their first hit was a cover of Hush, by Joe South, written for Billy Joe Royal, and it was an OK hit.

I only intend to treat the Mark I lineup, because I personally found their material to deteriorate quickly after the band were realigned, although their big hits were later.  Please come with me and explore what was to later become one of the first big hair bands, and one of the loudest in concert.