And never brought to mind?

Illustration of “Auld Lang Syne” by John Masey Wright and John Rogers. Courtesy of Wikipedia.

I have a battered and bookmarked copy of the tenth edition An Introduction to Poetry by X.J. Kennedy and Dana Gioia on my classroom bookshelf that I use for reference in planning my AP Literature poetry units each year. It’s one of those textbook-meets-anthology books that English teachers like myself seem to collect throughout the decades of their careers, and I’ve found this one to be especially helpful because of the way that the authors take us through the genre and its forms via the lens of various literary devices. When the reference dialect, one of my favorites to teach*, they include an excerpt from “Auld Lang Syne” as an example of how a poem written in a particular English dialect sounds richer when read using those words, pointing out that “auld lang syne” when translated into standard English would mean “old long since”, which doesn’t have the same ring to it.

The song, which is credited to Robert Burns in 1788, is an indelible piece of our popular culture and the traditional soundtrack to midnight on January 1. Burns gets credit for a number of the verses, but he is quoted as giving credit to the tradition of passing down folk music, saying that quite a bit of the inspiration from the song came from “an old song, one of the olden tunes, and which has never been in print, or even in manuscript until I took it down from an old man.” In fact, Burns also references a poem by James Watson from around 1711, and when it is all put together, we get these lyrics (courtesy of Scotland’s official website)**:

Should auld acquaintance be forgot,
And never brought to mind?
Should auld acquaintance be forgot,
And auld lang syne.

Chorus:
For auld lang syne, my jo,
For auld lang syne,
We’ll tak a cup o’ kindness yet,
For auld lang syne,

And surely ye’ll be your pint-stowp!
And surely I’ll be mine!
And we’ll tak a cup o’ kindness yet,
For auld lang syne.

Chorus

We twa hae run about the braes
And pu’d the gowans fine;
But we’ve wander’d mony a weary foot
Sin auld lang syne.

Chorus

We twa hae paidl’d i’ the burn,
Frae mornin’ sun till dine;
But seas between us braid hae roar’d
Sin auld lang syne.

Chorus

And there’s a hand, my trusty fiere!
And gie’s a hand o’ thine!
And we’ll tak a right guid willy waught,
For auld lang syne.

Chorus

Should old acquaintance be forgot,
And never brought to mind?
Should old acquaintance be forgot,
And long, long ago.

Chorus

And for long, long ago, my dear
For long, long ago,
We’ll take a cup of kindness yet,
For long, long ago
And surely youll buy your pint-jug!
And surely I’ll buy mine!
And we’ll take a cup of kindness yet,
For long, long ago.
Chorus

We two have run about the hills
And pulled the daisies fine;
But we’ve wandered manys the weary foot
Since long, long ago.

Chorus

We two have paddled in the stream,
From morning sun till dine;
But seas between us broad have roared
Since long, long ago.

Chorus

And there’s a hand, my trusty friend!
And give us a hand of yours!
And we’ll take a deep draught of good-will
For long, long ago.

Chorus

I included the song’s lyrics in their entirety here because like a number of older songs that are traditionally sung, we tend to forget or neglect that they’re much longer than we realize. Also important to note is that the tune of the song was not Burns’ composition but was a traditional Scottish folk tune–in other words, the lyrics were just put to music, even if that was not Burns’ intended tune.*** The tradition of singing it to celebrate the new year began in Scotland, and Scots have a particular ritual of sorts to go along with it:

It has long been a much-loved Scottish tradition to sing the song just before midnight. Everyone stands in a circle holding hands, then at the beginning of the final verse (‘And there’s a hand my trusty friend’) they cross their arms across their bodies so that their left hand is holding the hand of the person on their right, and their right hand holds that of the person on their left. When the song ends, everyone rushes to the middle, still holding hands, and probably giggling.

With the phrase meaning “for old time’s sake” and intended to be sung at the end of a long night of celebrating, “Auld Lang Syne” winds up being a perfect drinking song about friendship. When you sing it to someone or with someone, you are connecting with them across the years and honoring what you’ve shared. And that first verse being a rhetorical question is key, especially with New Year’s Day wiping away the past and in some cases saying good riddance. So we wind up having to ask ourselves “Do we really want to get rid of everything?” Then we look at all we’ve done in the past and decide that we will drink to our friendship for old time’s sake.****

Now, I’m a fan of traditional drinking songs and have been so since I discovered Great Big Sea in the late Nineties. But many of those songs tend to be upbeat and rowdy, the party having to come to you for a few minutes. “Auld Lang Syne” is appropriate for midnigth when you are more than a few in and clinging to whatever second or third wind you’ve gotten.***** And it’s sentimental, a folk song version of “The real treasure was the friends we made along the way.” No wonder it’s sung at the end of It’s a Wonderful Life.

Funny enough, this year seemed like a reckoning more than anything, so “Auld Lang Syne” is less sentimental and more of a cling to hope. Or maybe it’s a positive reminder. Singing a song where you ask yourself “Are you going to forget your old friends?” at the end of a very tough year does help you put things into perspective, even if the question is rhetorical and you’re actually supposed to answer “No. Of course I won’t forget them.”

As I contemplate this question at the end of the end of 2020, there are those people whom I can’t forget and wish were with me to celebrate ringing out this stressful, tough year. And yet, there are also those old acquaintances I should forget. Not that they weren’t really friends to begin with or anything (that’s too simple of a way of thinking, to be honest). People change, circumstances reveal things, or you just grow apart. So, sometimes the real treasure is the friends you lost along the way. I don’t want to get into too much about how tough this year was, especially since we can all offer up our particular 2020 stories, except to say that there were moments in the year that were revealing and while some of them still hurt in a way, they’re moments I am grateful for.

I continue to be grateful for them and am grateful that I can head into 2021 with a glimmer of hope, because I need to say something other than complaining about what a shit year it’s been. It’s not being a Pollyanna; I just think contributing something more positive is important. Consider my cup of kindness raised to those who I’d like to remember and my best wishes for a happy, healthy new year.

*It’s really only one of my favorites to teach because I can whip out a flawless Long Island accent that always amuses my class.

**It’s not hard to see someone’s twenty-post Twitter thread about Robert Burns being a plagiarist and how this somehow ties into classist oppression.

***This is also true of another song that is commonly sung in America, “The Star-Spangled Banner.”

****Unless, of course, you’re Dan Fogelberg. Then it’s a lover.

*****Or, if you’re me, you wake up because you fell asleep in the big chair at around 9:30.

Pop Culture Affidavit Episode 116: Holidays With a Laugh Track

Spend this holiday season with some of your favorite families in TV Land!  This time around, I take a look at seven sitcom episodes from the 1980s to 2010s that center around or take place around the holidays:  Cheers, Married … With Children, Saved by the Bell, Seinfeld, The Simpsons, Friends, and Schitt’s Creek.  I take a look at one holiday-themed episode from each that I find memorable and give each a quick review.  It’s all a bit of cheer to close out 2020!

You can listen here:

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And as it is the week of Christmas, I wanted to take an opportunity to thank everyone who reads this blog and listens to this podcast for your support, especially during this very tough year. Merry Christmas and Happy Holidays to you and yours!

Pop Culture Affidavit Episode 115: Sometimes the Clothes Do Not Make the Man

In 1990, David Fincher directed one of the most iconic videos of all time, “Freedom ’90” by George Michael. The video featured five supermodels lip synching the song and was a literally explosive deconstruction of the image he had created in his 1987 solo debut, “Faith.” So, on the video’s thirtieth anniversary, Amanda and I sit down to talk about George Michael and his music, do a video commentary, and then segue into a discussion about fashion in the early Nineties.

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After the break, here’s some extras for you.

(more…)

Fallen Walls Open Curtains Episode 5

It’s the fifth chapter in a podcast miniseries that looks at the fall of the Iron Curtain and the popular culture of the Cold War. To start us off, I look at what happened in Eastern Europe from September to November 1990 with a special focus on the roles that corporate America and pop music played in the end of the Cold War. Then, the discussion turns to sports; specifically, the Olympics with a spotlight on the controversial 1972 men’s basketball final, The Miracle on Ice, and the 1984 Los Angeles Summer Olympics.

You can listen here:

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And here are a couple of extras for you …

(more…)

Pop Culture Affidavit Episode 114: Unsolved Mysteries of the Unknown

It’s Halloween and that means it’s time for me to actually get seasonal … for once.  I’m here and talking about some oddities of entertainment from the late 1980s and early 1990s.  First up is Time-Life Books’ best-selling series Mysteries of the Unknown, whose commercials were some of the creepies of the time.  Then, I move into the area of true crime (among other subjects) by looking at a classic Robert Stack-era episode of Unsolved Mysteries.  Plus: listener feedback!

You can listen here:

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After the break, here’s some extras for you, including four of the classic Mysteries of the Unknown commercial …

(more…)

Geek Out Online: The 2020 Baltimore Comic-Con

When the COVID quarantine began to drag on through the summer, I made what was a real bummer of a choice–to not attend this year’s Baltimore Comic-Con. I’d already canceled two trips for the year and was holding out hope that I could at least go somewhere other than Costco, but it wasn’t looking great. But my thinking proved fortuitous when the organizers of the convention announced they were going online and were offering up a full slate of programming along with virtual experiences that were much like what you’d expect on a convention floor.

Aside from catching some panels from shows like San Diego, New York, or DragonCon on YouTube or various podcasts, I’d never experienced a comic convention–or any convention for that matter–online, but as the lineup was posted in the time leading up to this weekend, I had to check it out and I couldn’t resist also blogging about it. It’s such a great comics-centered show, but would they be able to re-create the experience of being there through streaming feeds?

Spoilers: They did.

Now, much like the live convention, it was nearly impossible for anyone to attend every single minute of every single event; much like my experience with the live convention, I wound having to pick and choose what I wanted to attend. I guess the difference this time was that I didn’t run around trying to talk to different creators and get books signed, although signature packages were offered, and there was plenty to shop for at the Artist’s Alley Page. More on that later, as I’m going to start by looking at the specific programming that I watched.

Panels

I’ve done a few panels here and there over my years at going to the con, although they tend to be the first thing I skip in favor of getting those last signatures, roaming the floor, or going to lunch. This time, I viewed panels almost exclusively, hitting three of the creator panels, one full and one partial Kids Love Comics panel, and the retailers showcase preview on Thursday night. Two of them were on Friday night, which was a huge treat for me, especially since I never have the chance to go to Friday because I’m always headed up to my in-laws’ after work. Plus, the convenience of AirPods allowed me to put my iPod down and just listen to the panel while I did the dishes.

Okay, this review is getting boring. Let’s get to the panels.

Justice League: BWAH-HA-HA!!! with J.M. DeMatteis, Keith Giffen, and Kevin Maguire

I admit that this was my whole reason for watching on Friday night. I came into comics when this era of the Justice League was starting its third act and while I have yet to read all of it (trust me, it’s on my list), what I have read over the years has been absolutely fantastic. Plus, I’ve had the chance to meet all three of these creators over the years and have them sign my copy of the Justice League: A New Beginning trade. Keith Giffen wasn’t on the panel when I was watching it (I had to hop off to eat dinner during the second half), but what DeMatteis and Maguire had to say could have filled two panels.

And you could tell they were old hat at this, having done a number of these panels before and therefore came off as old friends reminiscing (which it essentially was). Even though I’d read and listened to quite a bit about this era of the Justice League over the years, I learned a few things, namely that they were given the characters as a result of the Legends crossover and that DeMatteis was not one of the original writers, having been given the book to help Giffen when he was in the middle of the Justice League job he’d been hired for–killing off JL Detroit.

They also talked about how the creative freedom offered to them in the 1980s allowed them to create characterizations and relationships between characters in a way that developed organically as opposed to some of the forced dynamics that comics can sometimes have, and it made me wonder if that’s something that we’ll ever get nowadays considering how many superheroes are considered more like intellectual property owned by a parent company as opposed to characters in a story. But hey, maybe me as an old-man comics reader is too narrow minded to think that this sort of lightning in a bottle is unlikely to be caught again. Then again, these guys didn’t think it would be as legendary as it has become, especially Maguire, who commented, “It’s odd what sticks” during a conversation about his artwork, especially the oft-homaged and repeated cover to Justice League #1.

Brian Michael Bendis and Gerry Conway

Whereas three old friends were getting together with a moderator (and I should mention that John Siuntres from Word Balloon did an excellent job hosting the BWAH-HA-HA!!! panel), this was a conversation between two comics legends across generations. Bendis was essentially putting a spotlight on Gerry Conway, who wrote Justice League of America #200, an issue that Bendis admits to chasing for pretty much his entire career, especially in recent Legion of Super-Heroes issues (a series that is amazing, by the way, and you should add it to your pull list yesterday). But they not only spent a lot of time talking about the various characters that Conway has worked on over the years, they talked about the creative process as well as what happens to the characters after they leave the page.

The latter is where I came in and Conway was addressing the appropriation of The Punisher by the police and those carrying out acts of aggression in way that is contrary to the actual mission of the character. Bendis shed some light on the more positive side of that particular phenomenon by talking about the success that Miles Morales has had. But for all of his frustration about the use of the Punisher, Conway seemed grateful to have a stake in the character, and feels that he has a voice in the matter.

The conversation about the creative process is something I’d see echoed in other panels later on, and I found it fascinating to hear how one can get pigeonholed as a television writer (Conway has written a lot of mystery story-based television) and appreciated how they talked about doing the work to read, research, and get a character right.

Inside the Comics Studio: 1985 with Howard Chaykin, Walt Simonson, Denys Cowan, and Bill Sienkiewicz

Now if the Bendis/Conway panel was two generations of comics men talking shop and the Justice League panel was three friends reminiscing, this panel was the equivalent of a corner table at a bar as the night wears on. And it was so much fun. The four of them, who were work mates at both Marvel and DC and in their own studio, spent an hour talking about where they were in 1985 and Dean Haspiel, did a pretty good job of keeping the conversation from going completely off the rails and even keeping it interesting despite some streaming lag and freezing on Sienkiewicz’ part. Like I said, this was like listening in on a conversation and I confess that I stopped taking notes early on just so that I could listen and laugh along.

Creator Spotlight: Terry Moore

My main draw (no pun intended) was Terry Moore, whose table I regularly visit when he’s at the Baltimore Comic-Con (I’m very close to getting all of my Strangers in Paradise trades signed) and I know that he’s got a new graphic novel coming out named Ever, which is a dark fantasy book (that I’ve already preordered, so I’m pumped). Plus, as he announced at the panel, he will be publishing Serial in 2021 starring Zoe, the fan-favorite 10-year-old serial killer from Rachel Rising.

Amy Dallen hosted and was outstanding, bringing the enthusaism of a fan of Moore’s work as well as the knowledge and professionalism of a good host, interjecting where she can but spending most of the time sitting back and listening to him talk about his career. And one thing I really appreciated was how he talked about where he gets some of the motivation for his writing and some of his themes; furthermore, he made this great point about how after the 9/11 attacks, he set out to make sure that all of his stories had some semblance of hope. That’s not something we often get in our stories these days, as our culture seems to equate intelligence with cynicism. There’s something incredibly genuine about him and it really came across in the interview.

Kids Love Comics: Jeff Kinney

My son–who is now 13 and has been reading the Diary of a Wimpy Kid books since he was in elementary school–and I came into this one at the end because I had been doing some lesson planning all morning and he’s turned into the type of teenager who rolls out of bed close to noon on a Saturday. Despite that, it was pretty cool to hear him talk about how amazed he is at the impact that his books have had, and I have to hand it to the convention organizers because this is the type of person I could imagine having a Todd McFarlane-sized line of kids at his table.

Kids Love Comics: Kazu Kibuishi

So if you remember the first time I had my son with me at the convention, we met Kibuishi because Brett is a huge fan of the Amulet graphic novels and I bought a couple of GNs that Kibuishi then signed. We also went to a panel where he talked about what was coming up for the books as well as his creative process. Now that it’s several years later, Brett is really interested in drawing and was excited to see him talk again.

What was also cool about the panel was that it was hosted by Jamar Nicholas, whom we met a couple of years ago when he was selling Leon: Protector of the Playground at a table in the Kids Love Comics area and we interviewed him for the show. And he’s just signed with Scholastic, which is huge, and that’s great, because you love to see that type of success for someone writing great books for kids (and who is especially nice to boot).

As for the interview, it was also very well run with each question projected onto the screen, and I could clearly see that both creators as well as the KLC coordinators knew their primary audience was because the conversation was geared toward the kids in attendance. At the same time, neither of them talked down to the audience, which I appreciated. Kibuishi talked about how he got interested in drawing, how he had support from his parents and gave some really good advice, saying that he likes to stay independent as an artist and not connect himself too much to the business side of things, even though that’s necessary. Oh, and they both joked about how they can’t–and so many others can’t seem to–draw horses.

Brett told me that he really liked the advice of not being super money hungry and that Kibuishi has things he likes to do in order to disconnect from work, take a break, and reflect–mainly mountain biking (my son likes to read and hike). Plus, he felt pretty inspired hearing that he didn’t have to have the most expensive equipment when he’s just starting out.

Retailers and Artist’s Alley

Spending a huge wad of cash at the convention is a big part of it for me, and while I was able to sate my desire for back issues by going to my LCS on Friday, I did miss the rush of flipping through bins and looking for a hidden gem. But the Artist’s Alley setup on the site that featured links to most of the exhibitors’ websites was great and I bookmarked four or five artists from whom I’ll be buying something once I get paid this week.

Also really useful was the Retailers Showcase, which was hosted by The Great Legend and Anthony Snyder and featured a number of the more high-profile retailers that exhibit at the convention. It was shown Thursday night and even though it was some retailers talking about what they sell, it was so comics-centered and so pure to the tone and purpose of the convention that it set everything up nicely. I mean, I can’t afford anything that the Heritage Auctions guy was showing us, but my jaw still dropped at the sight of a high-grade Golden Age comic. But I am looking forward to buying a comics portfolio from Fine Comics Collectibles–who would have thought of that for those of us who bring a ton of books to have signed at a convention?

Next year’s show is scheduled for the same time in October and it’s my hope that it will be live and in person because even before I saw the guest list, I was ready. Still, the convention organizers did a great job with the virtual con and I hope that this possibly means that they’ll expand the experience to include some online offerings or maybe some recorded or livestreamed panels next year. Yunno, for those of us who will be just so happy to be back on the floor flipping through those bins.

Pop Culture Affidavit Episode 113: Taped Off the Radio

This time around, I’m back to looking at my history with music by going deep into the early 1990s and my early teens, recollecting those nights I spent in my room listening to the radio and rushing to hit record so that I wouldn’t have to wait for the station to play that Brian May song.  I talk about the stations I grew up listening to, the tapes I made, my unfortunate music choices, and how I learned about what was popular (and what wasn’t) before I finally got my own CD player.

You can listen here:

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So here’s some extras for you …

So the picture above isn’t of my exact radio, but it is the radio I owned and used to tape all of those songs. It’s the Sony CFS-230 cassette-corder boombox. I got this for either my birthday or Christmas sometime in the late 1980s and it was eventually replaced with a cassette/CD player that I received for my fifteenth birthday.

And here is the Spotify playlist that includes the songs I featured in the episode. Enjoy!

Fallen Walls Open Curtains Episode 4

It’s the fourth chapter in a podcast miniseries that looks at the fall of the Iron Curtain and the popular culture of the Cold War. To start us off, I look at what happened in Eastern Europe from June to August 1990 with a special focus on the Singing Revolution in Estonia, Latvia, and Lithuania. Then, Luke Jaconetti joins me once again to talk about the science fiction classics The Day the Earth Stood Still and Godzilla.

You can listen here:

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Pop Culture Affidavit podcast page

And here are a couple of extras for you …

The song that opens and closes the show, Sheb Wooley’s “Flying Purple People Eater”:

The theme to The Day the Earth Stood Still:

The theme to Godzilla:

ABC News’ story on the Baltic Way or Baltic Chain from August 1989:

A video for an Estonian patriotic song whose title translates to “No Land is Alone.” While this is more recent than the 1980s, this was one of the “Five Patriotic Songs” that I mentioned in my look at the Singing Revolution:

Pop Culture Affidavit Episode 112: To Boldly Go

Episode 112 Website CoverSpace.  The final frontier.  This episode is a conversation between me and special guest star Gene Hendricks.  Our mission?  To talk about the original crew Star Trek films and explore our own origins as fans of the classic science fiction franchise.  But it’s not just movie talk.  We have also read all six of the film novelizations and discuss how much they add to the experience.  It’s a classic fan conversation with two guys who are boldly going where many have gone before!

And a quick note on the audio quality of the episode.  At one point, early on in recording, my USB microphone died and I had to switch to my in-computer mic.  I have done my best to remedy the poor quality through rerecording a few pieces of what I had, and using various noise cancellation and volume balancing tricks.  So my apologies for the bad quality of sound on my end.  I just didn’t want to let such a great conversation go unheard.

You can listen here:

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Pop Culture Affidavit Episode 111: Time Traveling Teens from 1988

Episode 111 Website CoverGet on your bike and grab your sack of morning editions! This time around, we’re back to looking at comics as Stella and I take a look at the Eisner-winning series “Paper Girls” by Brian K. Vaughn and Cliff Chiang. We give a summary of the book–with and without spoilers–and then talk about why we both think it’s required reading (even if that’s usually on our other podcast).

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