television

A New Start

I may have neglected to mention the last time that I covered anything regarding Degrassi, which was about a year and a half ago, that I initially missed the finale of Degrassi Junior High.  For years, I knew that in the final episode of that season–“Bye Bye Junior High”–the school caught on fire during a dance, but I never actually saw the episode until someone sent me a video tape full of Degrassi episodes sometime in the early 2000s.  So back in 1990, I had no idea what happened and really no sense of the show’s continuity.  Sure, I knew who the characters were, but if a random DJH episode came on, I really couldn’t tell you what season it was from.

That changed when I tuned into watch Degrassi one day and saw a new title sequence, one for Degrassi High.  The characters were the same (for the most part) but they were older and at a new school.  The whole thing would end just like DJH had–with a dance after everyone learned the school was about to close–but that’s a few years off.  The episode that started DH was a two-parter, “A New Start.”

One of the things that can be the most heavy-handed part of old episodes of Degrassi is its educational aspects.  There was, to some degree, a mandate that the show had to teach and sometimes that issue was handled in an “issue of the day” sort of way.  That kind of happens in “A New Start,” even though the episode does its best to toe the line between a solid piece of teen drama and a very special episode.

While the cast is forced to adjust to its new surroundings and we get some great subplots, involving Joey, Wheels, and Snake getting hazed by older students, including Duane (who would become a key character later in the show’s run) as well as the introduction of new characters like Claude (more about him in future episodes), this one revolved around the twins:  Heather and Erica.  It seems that over the summer, they held the time-honored teen jobs of camp counselors and while working at the camp, Erica met and lost her virginity to one of the other counselors, a guy named Jason.  It wasn’t out of character completely–Erica was always more boy-crazy than Heather–but the complication that arose was that by the end of the first part of “A New Start,” Erica discovers that she’s pregnant.

So begins a story that even today would be considered controversial:  Erica gets an abortion.  Most of the second part is devoted to her contemplating the abortion, seeking counseling, and arguing with her sister, and it ends with the two of them walking either up to or into the abortion clinic, depending on what version you saw.  It’s a tough topic to approach and the writers do this deftly, as do the actresses.

One of the most important things to point out about Heather and Erica, which is highlighted in a pretty forced class discussion about abortion, is that the girls are a part of a very conservative Christian family, so when Erica brings up the topic as a way of working through her feelings (like I said, it comes off as a little forced) and gets a discussion going that  properly highlights multiple sides of the issue.  When Erica openly wonders if it could be the right choice for someone, Heather gets visibly upset and talks about how babies die every day in the “killing centers.”

Looking back at it, twenty-five years later with the perspective of someone who now has well-established views on the issue, this discussion and some of what Heather says comes off as almost satirical; however, when I was thirteen years old, I really didn’t know what an abortion was aside from it being an issue I heard about on the news.  “A New Start” made an attempt at presenting abortion in a way that was straightforward, and Heather’s inner conflict is well done, too.  Erica wants her support and Heather is so anti-abortion that she doesn’t know if she will give it, but eventually she puts her love for her sister above her political ideals and walks with her when she goes to the clinic.

The original ending freeze frame to “A New Start, Part Two.” This was only aired in Canada. The U.S. version, shown on PBS, ended a few moments earlier.

That last scene, by the way, caused a controversy, at least among those who were aware of it back in 1990.  The episode originally ends with Heather and Erica making their way through a crowd of anti-abortion protesters and freeze frames on a woman holding a figurine of a fetus as they walk in the door.  This was too much for PBS, who truncated the American version of the episodes by a few seconds and ended with a freeze-frame of their faces.  The episode still aired, though, which is more than I can say for a similar episode of Degrassi: The Next Generation which aired in Canada but was initially not shown in the U.S. by the cable network The N (incidentally, neither was “A New Start” or a later episode that referenced the abortion).

I don’t know if this opener was a way for Degrassi High to make a statement that they weren’t going to shy away from heavier topics now that characters were older, but it certainly gripped me and up until the show seemed to vanish from my television, I never missed an episode.

Both episodes can be found on YouTube …

Part One:

Part Two:

Pop Culture Affidavit, Episode 46: The Pop Culture Affidavit TV Theme Song Countdown!

Episode 46 Website CoverRiding the coattails of The Palace of Glittering Delights, I’ve got my own TV theme song countdown. There’s comedy! There’s drama! There’s Canadians! There’s Hasselhoff! Join me as I count down twelve of my all-time favorite TV theme songs.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

For your viewing pleasure, here’s all of the theme songs I mention in the episode.

Billy Joel, “Sleeping With the Television On” (the episode’s opener):

Star Trek: The Next Generation

Star Trek: The Motion Picture

CHiPs

Hill Street Blues

Community

California Dreams

Friends

Great Scott!

House of Cards

Charles in Charge

Growing Pains

The Facts of Life

Mad About You

Night Court

Cheers

The extended version of “Where Everybody Knows Your Name”

Degrassi Junior High and Degrassi High

Beverly Hills, 90210

The West Wing

My So-Called Life

Baywatch

21 Jump Street

Where in the World is Carmen Sandiego?

Pop Culture Affidavit Episode 45: Live From New York, it’s Saturday Night!

Episode 45 website coverIt’s a coattails-riding self-indulgent trip down comedy memory lane as I spend 30 minutes talking about Saturday Night Live, which just had a huge 40th anniversary special this past Sunday. Here, I look back on another anniversary special from the show, its 15th anniversary special, which aired in the fall of 1989, and I also talk about how the show has had an effect on me since I’ve been watching it for the last 25 years.

Here’s where to listen:

iTunes: Two True Freaks Presents Pop Culture Affidavit

Direct Download

Two True Freaks Presents: Pop Culture Affidavit podcast page

Pop Culture Affidavit Episode 42: Closing the Door on 1994

Episode 42 Webpage CoverIt’s the end of the year and that means it’s the end of my year-long series, “1994: The Most Important Year of the Nineties!” I close things out with another grab bag that features music, movies, television, politics, and the Internet and then give a final, closing statement about why 1994 is the most important year of what’s proven to be an incredibly important decade.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

And for your viewing/listening pleasure, here’s some things that were covered in the grab bag or at least mentioned at one point or another …

Dave Matthews Band: “Best of What’s Around”

Hammer: “Pumps and a Bump”

Weezer:  “Buddy Holly”

Beastie Boys: “Sabotage”

Scenes from The Ref

Opening credits to Party of Five

BoDeans: “Closer to Free”

Live: “Selling the Drama”

Live: “Lightning Crashes”

The trailer for True Lies

A call from The Jerky Boys

Dave Matthews Band: “Ants Marching”

Real McCoy: “Another Night”

Pop Culture Affidavit, Episode 40: What Happens When People Start Being Polite and Start Gettin’ Real

?????????????We’re nearing the end of 1994: The Most Important Year of the Nineties and in the penultimate episode of the series, I’m showcasing what is one of the most important television series of the Nineties, The Real World. Specificlally, I take a look at season three: San Francisco, which starred Judd Winick, Pedro Zamora, and “Puck.” The episode includes a run-down of the history of The Real World up to that point, a look at the season and then a look at the season’s legacy as well as Winick’s 2000 graphic novel, Pedro and Me.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

Also, you can buy Judd Winick’s Pedro and Me, it is still available on Amazon:  Pedro & Me: Friendship, Loss, and What I Learned

Also, here’s some of the stuff featured in the episode …

A compilation of the intros to The Real World …

The “Why Doesn’t MTV Play Videos Anymore” sketch from Brian and Maria …

Pop Culture Affidavit Episode 39: Must See TV!

Episode 39 Webpage LogoIt’s Thanksgiving time and 1994: The Most Important Year of the Nineties continues with a look at the biggest night of network television that year–NBC’s Thursday night Must See TV lineup! Join me and my wife, Amanda, as we sit and watch the episodes of Mad About You, Friends, and Seinfeld that aired on November 17, 1994. It’s a kinda sorta commentary?

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

O Say Does That Star-Spangled Banner Yet Wave; This Concludes Our Broadcast Day

JeffersonThis weekend marks the bicentennial of Francis Scott Key’s writing “The Star-Spangled Banner.”  To mark the occasion, Baltimore had a large celebration in its harbor, especially near Fort McHenry, which is where Key was being held prisoner during the Battle of Baltimore.  The history of our national anthem goes beyond that one battle of the War of 1812 and  The Washington Post has a really great article that discusses that history (“5 Myths About the National Anthem”).  I actually knew a majority of the truths the writer discusses because of a filmstrip I saw in music class when I was in the fifth or sixth grade.  Don’t ask me how I actually retained that information and not, say, trigonometry, because it’s one of the great mysteries of life.

But I didn’t want to write this short post about the history of “The Star-Spangled Banner” or discuss its significance in our everyday lives as Americans.  No, this blog is about popular culture and when I, and quite a number of people older than myself, think of the national anthem’s place in popular culture, they might think of this:

If you’re under a certain age, you may not know what the significance of the clip I just posted because you might also not be familiar with the concept of a station signing off.  In the days before hundreds of channels and all-night infomercials, local television stations and network affiliates signed off for the night, concluding their broadcast day with a pre-packaged video montage and then going to some sort of test pattern with a constant high-pitched tone:

One of the most common sign-offs was the playing of “The Star-Spangled Banner” (something so common it opens Billy Joel’s song “Sleeping With the Television On”). There were quite a number of different versions of the national anthem sign-off, but this one always stuck out to me as one of the more memorable, probably because it was one of the few I actually saw–although if I’m being truthful, it may have been used as an early morning sign-on as well.

The montage I posted was created by the New York-based firm Saxton Graphics Associates, Ltd., probably in the early 1970s (since it closes with the moon landing) but I couldn’t find much else in the way of history of the montage beyond this paragraph on the Wikipedia page for “Performances of ‘The Star-Spangled Banner'”:

Over the early years of U.S. television broadcasts it became common practice by many stations to close their broadcast day, usually late at night or early in the mornings, by airing the Star Spangled Banner accompanied by some visual image of the flag or some patriotic theme. One audio-visual arrangement in particular, entitled “National Anthem,” [5] was produced by a New York-based graphics firm, Saxton Graphic Associates, Ltd. The uncommonly complex and interesting orchestral arrangement of the Star Spangled Banner commences with a trumpet fanfare then the anthem is accompanied by images that illustrate several of the highlights of the history of the United States of America, culminating with an image from 1969 of an Apollo 11 astronaut standing on the Moon by the US flag. Several television stations aired this including WNEW-TV in New York (through 1978), and Washington DC WDVM-TV channel 9. There is no reference to whom arranged the music, nor to what orchestra performed it though numerous sites on the Internet host messages inquiring about this and where the original music might be found today.

 

I don’t have a long, drawn-out nostalgic story for this one.  It does remind me of the times when I had to stay at my grandmother’s house and we’d get to stay up late for, say, New Year’s Eve or something, and it kind of reminds me of flipping around the channels in the very early hours of the morning when I had my first job of putting Sunday papers together at a local stationery store.  But when I watch it now, it actually is a little moving.  I’ve always loved how the montage takes us through all of American history and reminds us just how much has happened in the last 200-300 years; furthermore, the bombastic arrangement of the song is enough to get even the most cold-hearted cynic (read: me) feeling at least slightly patriotic.  And it’s a memento of an earlier time in our country’s media history, a piece of ephemera that makes some wistful for an earlier time and others curious.

Pop Culture Affidavit, Episode 34 — We Had a Time!

Episode 34 CoverMy MSCL two-parter concludes with an extra-sized celebration through conversations with longtime fans of the show.  Join me, Sarah Bunting (of TWoP and Previously.tv fame), Cory, Mark, Andrea, and chelle as we talk about MSCL, its impact on our lives, our history as fans, and the show’s legacy twenty years later.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

Pop Culture Affidavit, Episode 33 — There Was This TV Show …

Episode 33 CoverTwenty years ago, a television show premiered that, while it lasted only one season, had a clear impact on its devoted fans.  The show was My So-Called Life.  In honor of its twentieth anniversary and its place in 1994: The Most Important Year of the Nineties, here’s the first of two episodes.  In this one, I give my so-called origin story and take a look at each episode.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

Boldy Went

Star_Trek_GenerationsEarlier this year, I sat down with Michael Bailey and talked about the comic books of 1994.  He talked about how this was a landmark year for him as a comic collector because it was the year that the greater DC Universe opened up to him.  I actually remember it as being a bit of the opposite.  I didn’t stop collecting comics or anything, but I did find myself becoming more discerning as a comic book reader and collector.  As I’ve thought about 1994 and its importance in the decade, I’ve come to realize that this also applies to Star Trek.

I was a pretty big Star Trek fan from the time I was about nine years old and saw Star Trek IV: The Voyage Home for the first time in the movie theater and through most of junior high and the first year or two of high school.  Being a fan of Trek wasn’t exactly popular at the time and I definitely took a fair amount of shit, but I seemed to take a fair amount of shit for simply breathing when I was in the eighth grade, so whatever.

Anyway, 1994 is a landmark year in Trek because it marked the end of Star Trek: The Next Generation, the show that really cemented the concept of Star Trek as a show with a legacy beyond a 1960s television show and a series of popular movies starring the same group of people.  I had been kind of cold to the show when it premiered in 1987 because I was huge fan of original series reruns and original series movies, but it grew on me.  I never found myself watching it on a regular basis, but I do remember streaks of several weeks in a row because one episode hooked me in (my all-time favorite is the two-part cliffhanger “The Best of Both Worlds”).

“All Good Things,” which was the final episode of ST:TNG, aired on May 23, 1994 and being in the New York area, that was on WPIX at either 7:00 or 8:00 on a Saturday night.  I missed the original airing because I had to go to some family party, so I programmed the ancient top-loading Panasonic VCR in our basement to tape it when I got home.  For whatever reason–probably user error–it didn’t tape.  I was bummed but apparently not bummed enough to try and find a rerun because I didn’t actually see “All Good Things” until about 2009 or 2010 when I found it randomly on cable one night.

But the Trek faithful didn’t have too much to be upset about that year when it came to losing their favorite show.  Star Trek: Deep Space Nine was still on the air (although I admittedly didn’t watch it) and that November, Star Trek: Generations hit theaters.  This was a movie that was set up to be a pretty big deal–Kirk and Picard were going to be on screen together.  There was time travel involved, of course, but it was going to be huge.

I missed this in the theater and when I eventually saw it on video, I was kind of glad I did.  Star Trek: Generations is not that great of a movie.  It’s not Star Trek V horrible by any means, but it definitely follows the pattern of odd-numbered Trek movies being “meh.”  Granted, I haven’t watched it in two decades so I may be wrong, and that’s why I’m not going in-depth with a review of it or offering up a podcast episode.

What strikes me, though, when thinking about this, was how it was one of the first times where I hit a point that I definitely could say that I was at the end of my fandom of something.  It’s not that I stopped liking Star Trek by any means–in fact, I went and saw First Contact in the theater (and thought it was pretty good)–it’s that I was no longer so attached to it.  And really, I wasn’t used to that.  Since then, it’s happened with several things from bands like Metallica to comics like Batman, but Trek was the first “living” thing that I could turn to and feel a specific nostalgia for (as opposed to long-dead cartoons like Voltron, for instance), as if it reminded me of a place, time, and attitude that was no longer there.

Oh, and I still think Kirk’s death was cheap.