television

Everybody Wants Something

EWS21

Caitlin dumps Joey for Claude (pronounced “Clowde”).  Don’t worry, they’ll get back together … eventually. Image courtesy of Degrassi fandom Wiki.

First of all, hold up. Has it really been three and a half years since I did a review of a Degrassi High episode? Well, so much for keeping a commitment. Or maybe I’m keeping it because I am here and I am finally picking this up again.

 

At any rate, when I first realized this a few months ago, I did a rewatch of Degrassi High and decided to pick my ten favorite episodes that I watched when PBS first ran the show back in the late 1980s and early 1990s, and I intend for this to lead up to a podcast episode covering the show’s TV-movie finale, School’s Out! And before I get to the episode I’m going to cover in this entry, I should say that most of the Degrassi High episodes I am covering will be from the first of the show’s two seasons–at some point, WNET moved its Degrassi airings to Sunday morning and since my mom was dragging my ass to church, I caught bits and pieces of episodes from the show’s final season.

Here, I’m starting a strong one, and with one that is one of the most memorable for me based on the number of times I saw it on television back in the day and how honestly I connected with those characters. “Everybody Wants Something” is the fifth episode of season 1 and has three landmark moments: the Zits’ first (and only) music video, Erica and Liz in an epic fight, and Caitlin dumping Joey for Claude.

As detailed in the last episode I wrote about, “A New Start,” Degrassi High started with Erica finding out she was pregnant and then choosing to terminate the pregnancy, despite her and her sister’s religious beliefs. And unlike a teen-centered show like Saved By the Bell, this serious matter was not left completely unresolved (yes, SBTB had its ongoing plots, but they were usually the romances between characters and the only time anything serious got mentioned again, it was during a clip show). The after effects of Erica’s abortion were C-plot sutff for a couple of episodes, as someone was writing nasty things about her on bathroom mirrors and leaving things on her locker.

Toward the end of this episode, Erica finds a picture of a fetus with “Abortion Kills Children” on it and after getting upset, turns around to see Liz (best friend of Spike, who is famous as having been pregnant on Degrassi Junior High) was the person who planted it. We knew from an earlier conversation between Liz and Spike that Liz is decidedly antiabortion because her father tried to beat her mother into getting one while she was pregnant. Liz doesn’t tel Erica this, but instead calls her a murderer and Erica goes right at her.

It’s a fight that is pretty quick and ends with the two of them on the floor pulling at one another’s hair, and while it was obviously staged, I saw enough girl fights in the halls of my junior high and high school to know that it looks like these two were actually fighting. The way Erica goes after her, a crowd gathers, and they dig in and won’t let go of one another, even on the ground, suggests that someone had been paying attention to an actual high school.

And while it is not the end of Erica’s abortion arc or even the main event of the episode, it fits nicely with everything else, which is what this show always did well. There were something on the order of 10-20 characters on Degrassi High, so having this happen while something totally unrelated was going on and having those not directly affect one another is exactly what happens in a high school.

The main story is actually a two-in-one that centers around Joey Jeremiah, who I guess we could say is one of the core characters of the series (especially considering how things play out toward the series’ end). Joey’s taking yet another shot at fame with his band, The Zits (formerly The Zit Remedy) and has badgered Lucy into finally letting her shoot his video, even if he blows most of the guys’ money on getting two girls to wear bikinis (and then has that fall through). All the while, his girlfriend, Caitlin, has started hooking up with Claude (pronounced “Clowde”) and right before the video shoot, she dumps Joey.

Pat Mastroianni won awards for playing Joey Jeremiah and you can see why in episodes like this where he has to switch between having been dumped and being a goofball on camera, putting on an act for his friends. The final still of him looking consternated, while not dramatic, encapsulates the performance and was actually the kickoff to a PBS pledge break that I sat through when I saw the episode one time on a random weekend afternoon. The emcee said that if we wanted to see more of Joey, we should give money, and also showed some behind the scenes stuff about the show. I don’t know if this is an honor or not, but perhaps somewhere Mr. Mastroianni is proud that he was used to advertise public television.

My connection to this episode has little to do with Joey and Caitlin’s relationship or Erica’s abortion; instead, it’s the video the band shoots that resonates with me. When this episode aired, YouTube didn’t exist and while people did have video cameras, the ability to edit a video and give it a soundtrack required equipment or time in a studio that was cost prohibitive. oh, I’m sure you could do that with two VCRs, but even then, things were crude. My friends and I used to make stupid, silly videos–skits, lip-syncing, and other things that will never see the light of day–and in our minds, what we were putting together was more epic than the low-rent camcorder footage shot in my basement.  In other words, my friends and I could have been The Zits.  I definitely think that we could have milked that one song, too.

Next Up: “Just Friends”

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A New Year’s Eve on the Brink

When you trade in nostalgia, the idea of a milestone anniversary for something you cherished in your formative years is constantly on your mind.  Since starting this blog, I have watched the 20th, 25th, 30th, and even 40th anniversaries of pieces of popular culture that were personal milestones come and go.  Some, I have celebrated; others, I have acknowledged but decided not to cover because the idea of constantly chasing such anniversaries sounds exhausting.

That being said, today marks 30 years since New Year’s Eve 1988.  Nothing significant happened exactly on this day, but when I was thinking about what to write for my annual New Year’s Eve post, the thought of the 1988-1989 school year kept popping into my head and the more and more I thought about it, I discovered that in hindsight, this was a year that was more important than I once thought, both personally and culturally.

Why?  Well, for a number of reasons (and not just mathematically), 1988 was the beginning of the end of what we commonly celebrate as the 1980s and as we moved into 1989, we would see our culture shift into that odd post-1980s hangover that was the pre-Nevermind early 1990s.  It was, as the title of this post suggests, a time when we were on the brink.  The Cold War was ending, we were heading toward a new decade, I was hitting puberty, and there were other societal shifts that we as a culture were both seeing and wouldn’t realize were there until they were over (or in my case, 30 years later).

So, to take us out of 2018, here is my list of … Eight Significant Things about 1988-1989. (more…)

Your Wind Song Stays on My Mind

Throughout history, we have been drawn to the great love stories, both triumphant and tragic.  We cheered when Odysseus was finally reunited with Penelope and we cried when Romeo and Juliet met their fateful (though, I would argue, avoidable) ends.  Yet none of those compare to the epic saga of the two lovers in a Wind Song commercial from the early 1990s.

Wind Song is an inexpensive perfume produced by Prince Matchabelli, which has been around since 1926 when its founder, Norina Machabelli fled the Soviet Union for the United States.  It began making Wind Song in 1953 and the perfume has been available at drugstore counters ever since.  I personally have never smelled it, so I will post the description provided by FragarenceX, where a bottle is currently on sale for $15.70:

A unique woody perfume, Wind Song was released in 1953 and has been enchanting consumers with its bright combination of flowers and spice ever since. The top notes include coriander, tarragon, orange leaf, and neroli, with gentle hints of mandarin, bergamot, and lemon. The heart opens with a flush of carnation and cloves, gently spreading to reveal touches of rose, ylang ylang, orris root, jasmine, and rosewood. The base slips in softly with the poignant scents of sandalwood and cedar, along with the faintest hints of vetiver, musk, benzoin, and amber. This refreshing fragrance is lovely for a day out in the spring or summer.

If I personally have smelled it, I don’t think I would know, which is not a knock against the perfume and more a testament to my inability to distinguish any one perfume from another (except maybe Axe Body Spray, but that’s because I teach high school).  But I certainly remember the commercials that ran in the 1980s and 1990s and the famous jingle, “I can’t seem to forget you.  Your Wind Song stays on my mind.”

There were a number of variants of this commercial over the years, but they more or less had the same premise.  A woman wearing Wind Song perfume sprays a little bit on a letter or note and sends it a guy.  He opens it, smells it, and … well, “I can’t seem to forget you.  Your Wind Song stays on my mind.”

I’d imagine that if you aren’t familiar with the commercials, this description could provide you with a mental picture that is either very romantic or very awful.  Wind Song could remind the guy of his lover, it could cause a terrible allergic reaction, it could trigger a PTSD flashback, or it could result in something much worse.  For instance, in one of the commercials that ran during the 1980s, the woman spots her lover in a restaurant with a bunch of business colleagues and has a waiter send the note.  It’s meant to be a reminder of romance, but it could also be the framing device for a flashback in a Skinemax movie, or the note could also read “I will not be ignored, DAN!”

Anyway, the commercial that I’m most familiar with, and which I mentioned briefly in my VHiStory episode, was from the 1990s and did not involve restaurants or possible Fatal Attraction scenarios.

 

Wind Song Guy at Work

It is a simple plot, but one for the ages.  We have Rick, whose biceps strategically sweat while he shapes metal into various shapes.  He is just going about his day in whatever dusty shop this is, one that is run by Old Man Weatherby (a guy who has been trying to get at those meddling kids for years).  But then, the shaping of various metals must stop because the mail comes.

Flying Letter

And yes, the Maguffin has arrived.  It’s so important, in fact, that we get an artfully done special effect that even George Lucas is envious of with the letter flying toward him.  What could be in this letter? Is it his electric bill?  A notice that his metal shaping tools are being repossessed?  Could he have finally gotten into Harvard?

Wind Song Letter

No, it’s from Kate.  She misses him and she sealed the letter with a kiss.  I guess the perfume is strong enough to cut through all of the manly sweat and metal shaping smells, because Rick is definitely interested.  He takes a big whiff of that letter and we cut to Kate aimlessly riding her bike on a bridge.

Bored Kate

And she’s thinking: “Did I forget to turn off the coffee maker?  I think I did.  Wait, that’s not a big deal because it has an automatic shut-off.  The house isn’t going to burn down.  But did I lock the house?  I’m pretty sure I locked the house.  I remember getting my bike out of the garage, shutting the garage door, putting my keys in the … yes, I locked the house.”

Wind Song Guy in Car

Rick is so ready that he gets into his classic car and peels out of work.  He probably didn’t even put his tools away and left everything a mess.  Old Man Weatherby is going to be pissed.  But who cares?  Kate misses him, too, and that means someone’s gonna get lucky.  He then reaches the bridge where he just happens to know where Kate is riding her bike, and is all:  “Hey, baby.”

Kate Looks at Him

Kate:  “Oh, it’s you.”

Seirously, that’s the expression.  Like she’s the lady in Rupert Hine’s “Escape (The Pina Colada Song).”

Bridge Kiss

Well, at first, anyway, because he eventually pulls over, they have this moment where he picks her up and swings her around and they kiss and then we end with the two of them standing on the bridge and kissing.  Totally blocking traffic, by the way.  What if someone else was commuting home and got stuck because of these two?  That’s really rude.

The commercial ends with a shot of the box and a voice-over and I have to say that I have a number of unanswered questions.  What kind of force is guiding that letter?  Is it supernatural?  I mean, Old Man Weatherby can’t have that good of a wrist, right?  And what is Kate really like?  Is she the good girl and Rick is the guy they can’t stand?  And where exactly are these two living where he can work in shaping metal all day and afford a classic car while she can spend her days riding her bike aimlessly across bridges?

There’s some untapped fanfiction potential in this entire 30-second ad, if you ask me.  I can see entire books being written on the moments that inspired her to send the flying letter.  I can see erotica depicting the ten minutes that follow these thirty seconds.  Maybe there’s a literary masterpiece detailing their suburban ennui years later.  Or maybe a fantasy trilogy where he actually wants to escape but she has him under the spell of her Wind Song.

The possibilities are as endless and unforgettable as their love.

Pop Culture Affidavit Episode 92: VHiStory

Episode 92 Website CoverBlank VHS tapes. So many of us had them. So many of us still have them. But what happens when you unearth a pile of vaguely labeled blank tapes in your parents’ basement and you pop them into your VCR? Well, that’s exactly what I did. In this episode, I talk about my personal history with VCRs and VHS tapes as well as what I found in a pretty large pile of tapes that I grabbed on a trip to Long Island back in April. It’s an hour of me rambling about Seinfeld, Baywatch, holiday cartoon specials, and anything else I taped in the 1980s and 1990s.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

After the cut, a few links and extras from this episode …

(more…)

In Country: Marvel Comics’ “The ‘Nam” — Episode 85

IC 85 Website CoverIt is an extra-sized episode and an extra-sized issue as The ‘Nam hits issue #75.  In four different stories that take us in country and back again, we look at events and perspectives surrounding the My Lai massacre.  Creators in this one include original ‘Nam writer Doug Murray, Scott Lobdell, Don Lomax, Mike Harris, Jimmy Palmiotti, and Herb Trimpe.

Plus, I also take a long look at the final season of China Beach with expanded coverage of the events of the season and its final three episodes.

You can download the episode via iTunes or listen directly at the Two True Freaks website

In Country iTunes feed

In Country Episode 84 direct link

Nam 75

When All the Stand-Ups Got Their Shows

There’s a line in Swingers where Mikey, played by Jon Favreau, talks about heading out to LA and mentions that part of it was because he was pretty sure they were “giving out sitcoms at the airport” to stand-up comics like him (or something like that, anyway).  Naturally, this isn’t true and Mike’s really a struggling actor and comedian who spends the better part of his days lamenting his breakup with his girlfriend back home in New York.  At the same time, there’s some truth to the line he has about stand-up comics and sitcoms, especially when you consider that both Jerry Seinfeld and Ray Romano had two of the longest-running sitcoms of the decade.

In 1993, NBC, which was riding the high of the success of two stand-up comedian-driven sitcoms, Mad About You and Seinfeld, decided to show off how much success it had been having by airing a one-hour primetime special called The NBC Super Special All-Star Comedy Hour.  Meant to be a showcase of current talent as well as upcoming shows, it kind of acted like a comedian and sitcom version of the Saturday morning cartoon preview shows that we used to love as kids–an hour to stay up later than usual to see what we’d be seeing in the fall.

This show, which was hosted by Bill Cosby with some help from Paul Reiser, was something that I actually had been pretty sure for years I was actually misremembering.  For years, I had been searching for some sort of evidence of it, evidence I thought would be easy to find since Reiser was on it, but a look at his IMDb profile didn’t bring anything up and I couldn’t find anything on the resumes of any of the other people I remembered.  Until, that is, this past summer, I was going through a pile of old videotapes that I had grabbed from my parents’ basement and there it was, sitting on one of those random tapes.  Yes, I’m sure I could have found this on YouTube if I really tried, but there was something so cool about scanning through an old VHS labeled “Tom’s Blank” and saying out loud to nobody at all, “I found it!  I’ve been looking for this for years!”

The picture quality was solid even though the sound on the tape had deteriorated quite a bit, but it was good enough for me to watch it all the way through and take some pictures along the way (because nothing says quality blogging than pointing my cell phone at the basement TV).

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We open with two women in NBC Peacock costumes doing a song and dance bit as Paul Reiser, who was going into his second season of Mad About You, which I think at that point was on Thursday nights at 8:00 with Seinfeld having officially moved into the 9:00 Thursday slot vacated by Cheers, doing a quick opening monologue before introducing Bill Cosby as well as Branford Marsalis and The Tonight Show Band, who were the musical accompaniment for the evening. (more…)