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”

When you care enough to send the very best

A rack of greeting cards of various categories. Image courtesy of Wikipedia.

“Do you have any cards for granddaughter and husband?”

“Oh my God, you’re the reason we still do this,” I muttered under my breath as I scanned the rack of Christmas cards.  I’d already been there ten minutes longer than I wanted to; hell, if I’d had a choice, I wouldn’t have even gone to Hallmark to begin with.

As I get older, I’m failing to see the need for buying Christmas cards.  I’m not talking about the cards that you buy in a box or customize with a photograph or two and mail to people you haven’t seen, heard from, or spoken of in at least a decade; I’m talking about the individual cards you give along with a gift to people you are going to see on Christmas Day to whom I can say “Merry Christmas.”  Is a card really that necessary, especially when it’s going to wind up in the trash sometime before New Year’s Day?  And why, if I am complaining about having to buy Christmas cards, did I wind up dropping $34 in Hallmark?

I think it probably boils down to the idea of obligated tradition, a “We’ve always done it this way” thing for Christmas that is probably one of the few things keeping the greeting card industry afloat.  Because if you’ve actually stopped and thought about it, there are very few people who actually want to buy Christmas cards and that’s because we’re all secure in our feelings toward each other.  Unfortunately, we cater to the insecure and the manipulative, either to shut them up or avoid drama, and if you haven’t mastered the art of manipulation yet, I can confidently tell you that there are five types of people that you have to look out for.

The Indexing Continuity Freaks.  I’ve already given you a glimpse of these people at the very opening of this post, but let me go a little further in depth here.  These are the people who own accordion files where they keep greeting cards for every different type of person and every possible occasion that may be celebrated.  Is your second cousin-in-law a secretary?  Here’s a Secretary’s Day card!  Does anyone possibly celebrate Arbor Day?  She does!  Is anyone going to be able to tell that you’re giving the same card to your grandmother this year that you gave last year?  This person, of course!  Look, I understand the mentality–after all, I’ve been known to obsess over how exactly to organize my comic book collection from time to time (alphabetical by title?  Should I put all the parts of a crossover together?  Do I arrange things pre-Crisis vs. post-Crisis?)–but there’s a point where it gets ridiculous.  Not only that, but greeting card companies have been catering to these nuts for years.  I can’t look for a plain birthday card for my sister without having to sift through shelves of “sister and deadbeat boyfriend,” “sister and her 10 cats,” or “when are you going to settle down, sister” cards.

The Backhanded Complimenters.  There was a point, a few years ago, that I stopped buying mother-in-law cards.  Why?  Well, first, there were only three mother-in-law cards that existed and I’d bought all three of them (see also: Hanukkah … do stores in the South really not think that Judaism is an actual religion?); furthermore, they were all so insulting.  If I’m buying a card for someone and it has to say something inside, I’d like something nice and simple, not some screed about how tough it is to get along with your mother-in-law.  The “Daughter” and “Son” cards are just as bad.  I mean, I understand that the woman or man your son married did not spring forth from your womb, but do you really need the quotes?  Does anyone, other than the Indexing Continuity Freak, really want to open up a card and find out that they’re a sub-category or that they’re “loved?”  Even Roger Maris had his asterisk taken away, for crying out loud.

The Emotional Momenters.  You know who I’m talking about.  They’ve bought you a gift that’s very nice, but they spent more time on the card and while you open the envelope, their eyes grow with anticipation, waiting as you read the card and searching longingly for the first sign of tears.  It’s a calculated move they use every holiday and they are outright disappointed when the card doesn’t have the desired effect.  After all, they read every card in the store in order to choose the right one, so you’d better cry.  Oh, you’d better cry.  And if you don’t?  Then, cold shoulder it is!  These people are the hardest to please because not only are they looking for just the right reaction, they are examining the opening and reading of the card so closely that you have to time everything just right or they’re going to know the moment you’re faking.  There’s no way you could read a card that quickly and react like that!  I watched your face as you read slowly–you didn’t mean it!  Emotional Momenters are powderkegs of dramatic irrational crying waiting to go off, so make sure you practice.

The Comedians.  I love a good funny greeting card.  Love them.  But I can’t stand the lowbrow ones.  Maybe it’s the fact that I’m, oh, I don’t know, smart, but when I’m giving my wife an amusing card for Christmas, I’d prefer not to have to have her read a card about sex acts out of a bad porno movie. Furthermore, why does every joke about Santa involve reindeer poop or yellow snow?  There is such a thing as a smart joke; can’t I get a card that tells one of those?  People who give these cards most likely will present them to you in front of people who would easily get offended by said jokes and therefore, you wind up doing that nervous laugh that says, “Okay, I see how funny this is but you obviously have no social skills or you wouldn’t have given me a card involving 50 Shades of Gray in front of my 80-year-old Born-Again Christian grandmother.”  Please … if we all stop buying poop joke cards, maybe they’ll stop making them.

The People Who Didn’t Pay Attention in English Class.  I teach high school English.  Whenever I assign a novel, the first question is, “How long is it?”  Well, either that or students open the book, look at the last page, then look at the first page and celebrate the fact that the book begins on page four instead of page one (because that makes such a difference).  These people seem to think that quantity begets quality; therefore, these people are more likely to buy greeting cards that have multiple pages of sappy sentiment, as if that makes them better than something that is simply stated.  Thankfully, I married someone who majored in English and knows better, so the two of us get simple cards–that is, if we remember to get cards at all.  I’m convinced that nobody who buys these long-winded cards actually reads said long-winded cards.  They just see a lot of words, grab the card, pay for it, get in their IROC with a “Tommy & Gina 4-Eva” license plate frame and speed off into the night.

One year, I’ll actually not buy cards at all.  I’ll rip the Band-Aid off and allow for the disappointment of “Oh, you didn’t buy cards?” to wash over me until it’s repeated enough times over enough years that people forget I ever gave anyone a card.  That won’t be this year, though, because I’m too lazy to deal.

Pop Culture Affidavit, Episode 41: The Pop Culture Affidavit Christmas Countdown!

Episode 41 Webpage CoverBECAUSE NOBODY DEMANDED IT, it’s time for yet another Christmas episode! And this year, I’m saving you from the barrage of crappy Christmas “classics” out there with my own TOP TWELVE COUNTDOWN of CHRISTMAS FAVORITES! Plus, a special long-distance dedication!

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

And here, for your viewing pleasure, are the thirteen songs that I play on the countdown …

Bob Rivers, “It’s the Most Fattening Time of the Year”

Everclear, “Hating You For Christmas”

Run DMC, “Christmas in Hollis”

“Weird Al” Yankovic, “Christmas at Ground Zero”

The Kinks, “Father Christmas”

Sarah McLachlan, “Song for a Winter’s Night”

The Carpenters, “Merry Christmas, Darling”

Ramones, “Merry Christmas (I Don’t Want to Fight Tonight)”

Wham!, “Last Christmas”

Elton John, “Step Into Christmas”

The Waitresses, “Christmas Wrapping”

Bob Rivers, “The Twelve Pains of Christmas”

The Pogues f/Kirsty MacColl, “Fairytale of New York”

In Country: Marvel Comics’ “The ‘Nam” — Episode 39

IC 39 Webpage Cover“Sounds of Silence” is the title of issue #35 of The ‘Nam and here we see the start of an important subplot involving racial tension between some of the boys of the 23rd. We also catch up with Ed Marks as he has a short conversation about My Lai right before heading home for Christmas break. It’s December 1968 and it’s all brought to you by Doug Murray, Wayne Vansant, and Geof Isherwood. As always, in addition to the summary and review of the issue I’ll be taking a look at the letters, ‘Nam Notes, and ads.

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

Two True Freaks Presents: In Country iTunes feed

In Country Episode 39 direct link

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 …

In Country: Marvel Comics’ “The ‘Nam” — Episode 38

IC 38 Cover WEBSITEIn “Phoenix,” the 23rd encounters some unsavory goings-on in a village and we get a little clue into Ice’s past. It’s The ‘Nam #38, brought to you by Doug Murray, Wayne Vansant, and Geof Isherwood. As always, in addition to the summary and review of the issue I’ll be taking a look at the letters, ‘Nam Notes, and ads.

WARNING: The episode has an explicit tag due to graphic description of torture.

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

Two True Freaks Presents: In Country iTunes feed

In Country Episode 38 direct link

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

My mutant power activated the day I was left “Far Behind”

CandleboxThere’s a running joke that Michael Bailey (of Views From the Longbox fame) and I have going about us having “the same childhood”–being close in age and having grown up being able to watch a lot of the same TV channels, he and I have a lot of shared experiences when it comes to entertainment from the 1980s and 1990s.  What makes this coincidence possibly more weird than funny, however, is that we both have the same mutant power.  Both Mike and I have the ability to remember exactly where we were and what we were doing when we first saw a particular movie, heard a certain song, read a certain comic book, or encountered a number of other pieces of popular culture.  I can take it one step further and tell you exactly where I was and what I was doing when my mutant power manifested itself.  It was the day after Thanksgiving in 1994 and I was in my friend Vanessa’s kitchen.  My girlfriend was breaking up with me over the phone and in the background of our conversation was Candlebox’s “Far Behind.”

Written as a tribute to Andrew Wood, the late singer of the seminal Seattle band Mother Love Bone, “Far Behind” is arguably the most well-known song off of Candlebox’s 1993 self-titled album.  It was released on January 25, 1994 and peaked at #18 on the Billboard Hot 100, although it’s important to note that it was on the charts for most of the year and by the end of November 1994 was still in the top 40, having dropped to #35.  But chart position for rock in 1994 wasn’t terribly important to those of us who were living on a steady diet of any band that we thought was quality in the wake of the coming of Nirvana and Pearl Jam during my freshman and sophomore years of high school, and since Candlebox sounded similar to Pearl Jam, Soundgarden, and Alice in Chains, I heard songs like “You” (their first single) and “Far Behind” and picked up the album.

I honestly had no idea that this was a tribute song.  In fact, I had no idea who Andrew Wood was back in 1994 and my only experience with Mother Love Bone was the song “Chole Dancer/Crown of Thorns,” which was on the Singles soundtrack.  I figured it was a typical-for-the-era breakup song/torch song, and to be honest, the events surrounding the day after Thanksgiving 1994 definitely contributed to that, especially since I took that moment very hard and it would take the better part of a year for she and I to get around to being friends without “We had once gone out and you broke up with me and I’m still pissed” being the elephant in the room.  And that had more than anything to do with my immaturity–even though we only went out for a couple of weeks, she was the first girl I’d ever really dated and therefore this was my first real breakup.  So “Far Behind” became its theme song and every time I heard itI’d picture myself hanging out with Vanessa, who was home on break from college, calling up the girlfriend, and hearing her awkwardly ramble her way through a breakup that ended with “Well, I think we should just be friends.”  It got to the point where it was like I was following some sort of masochistic ritual, and when I signed her yearbook that June I drove home the point by quoting the opening lines: “Well maybe I didn’t mean to treat you bad, but I did it anyway.”  Because, you know, I was a senior in high school but when it came to girls I sometimes felt like I was still in junior high.

Despite all that, she and I are still friends and in a weird sort of way, this is a belated thank-you note to her because most importantly, that breakup was where memories of certain events or people in my life really began to be associated with something in popular culture and I began to think along the lines of “I remember when I first saw/heard this.”  I hadn’t listened to “Far Behind” in nearly twenty years before watching the video on YouTube–a video I had, by the way, never seen before because I didn’t have cable in high school, and one that is so very Nineties (seriously, the empty pool, the color scheme, the guy walking around aimlessly, the outfits … this isn’t a music video, it’s an artifact in a Nineties museum)–and that’s not because of my memories but more because of my changing tastes in music (unlike Live’s Throwing Copper which I refused to listen to for years because of a girl and now refuse to listen to because Live simply sucks).  Hearing it now, I can still see the wood paneling in Vanessa’s house and remember our conversations about David Letterman before picking up her phone and having that conversation and having my stomach drop, a moment that at the time was painful but eventually became almost bittersweet because of its normalcy and innocence.

In Country: Marvel Comics’ “The ‘Nam” — Episode 37

IC 37 CoverAfter a bit of a detour back in the world, we’re in the ‘Nam again and so is Daniels, the communications officer who was more cut-up than cut out for combat. But he’s there reluctantly and has definitely changed. It’s “Back in the Saddle Again” in The ‘Nam #33 by Doug Murray, Wayne Vansant, and Geof Isherwood. As always, in addition to the summary and review of the issue I’ll be taking a look at the letters, ‘Nam Notes, and ads.

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

Two True Freaks Presents: In Country iTunes feed

In Country Episode 37 direct link

But I’m a Harvard bum.

I have to admit that I went in to re-watching With Honors with a feeling that I remember it being a lot better than it actually was.  This tends to happen, I guess, when you don’t watch a movie for the better part of twenty years and you only wanted to see it because you had (and still kind of have) a thing for Moira Kelly.  It’s honestly not that good.  Okay, that makes it sounds worse than it is, but it’s not exactly The Big Chill or anything like that.

Released in April 1994, With Honors is the feature film directorial debut of Alex Kehishian, whose best-known work is one of the best rock documentaries of all time, the 1990 Madonna film Truth or Dare.  It managed to gross a little bit more than $20 million at the box office and finished 69th overall for the year, which isn’t exactly flop material but isn’t a box-office success either.  But quality of a movie is never really measured in receipts and my original attraction to the travails of Harvard student Montgomery “Monty” Kessler (Brendan Fraser) and his friends was similar to my attraction to the gang from St. Elmo’s Fire–a weird desire to watch people who were slightly older than me so I could possibly see if that’s what my life would be like.

Which sounds completely ridiculous, especially considering I saw this film in November 1994 when it had come out on video and I was seventeen years old at the time.  Watching films about people older than in the hopes that you’ll get some sort of weird fantasy fulfillment out of it is something you do when you’re twelve or thirteen, not on the verge of graduating high school; then again, I was a late bloomer.  But there is something about the setting of Harvard (even though quite a bit of the movie wasn’t filmed there) and the house that Monty shares with his friends that fills you with a wistful sort of feeling of either wanting to live in the place or wanting to go back to a time when you were  a starving student.

But I’m getting ahead of myself and ahead of the plot, because With Honors isn’t St. Elmo’s Fire.  Whereas that film is a look at how the relationships between a group of friends becomes incredibly complicated once they graduate from Georgetown and live on their own, With Honors is the story of how Monty meets a bum named Simon Wilder (Joe Pesci), who winds up touching all of them in some way or another and changing Monty’s life for the better.  It starts with Monty’s hard drive getting completely fried (and if you’re up for getting really nostalgic, check out the MS-DOS command prompts and clickety-clack of an early 1990s IBM keyboard) and his insisting that he run out right that minute to get copies made even though it’s the middle of the night and it’s snowing.  Naturally, he loses the thesis down a window grate and has to have Courtney (Moira Kelly) help him sneak into the library to get it from the boiler room.  It’s not there when he arrives and instead has fallen into the hands of Simon, who begins making him all sorts of deals so that Monty can get the pages of his thesis back.

Simon winds up more or less invading Monty’s life and at first their relationship is contentious, but soon enough Simon is not only occupying much of Monty’s time and most of his thoughts but his philosophy as well, especially after his confrontation with Monty’s professor and mentor (who is played by Gore Vidal):

So what we get is one of those “he touched all of us” stories, especially after they discover that Simon is dying from a condition caused by having worked in a shipyard that constantly exposed him to asbestos.  By the time that the gang takes a road trip so Simon can see the son he abandoned years before, he’s even won over Jeffrey, the mama’s boy roommate whose fastidiousness contributes to his initial hatred of Pesci’s lovable bum.  But he, too, joins in the group hug.

If it sounds like the movie lays it on a little thick, it’s because it does.  The characters are pretty much what you’d expect from a movie set at Harvard:  the stressed-out students, the crazy artiste (Patrick Dempsey in Everett, who even has his own radio show and acts like Ronnie Miller amped up a few nothces), and the galpal.  They live in an off-campus house that you would have killed to live in when you were in college (at least me, anyway, who spent four years in the dorm), and everything about the film says, “Stressed out smart college students finding something out about themselves.”  Plus, the main plot isn’t at all subtle and if anything is subtle in With Honors, it’s the obvious romantic tension between Courtney and Monty, who on the surface appear to act like brother and sister but really have strong feelings for one another but are afraid to act on those feelings–that is, until Simon convinces Monty that it’s worth the risk and we get one of the better scenes in the film at a “pajama party”:

Okay, maybe it’s just my aforementioned crush on Moira Kelly that makes me think this is one of the better scenes in the film, but I do love that line, “I’m ending our friendship.”  And looking at what I’ve written in the last few paragraphs, it seems like I didn’t like With Honors, but as uneven as it is, I did, although not as much  as twenty years ago.

Then again, twenty years ago I was sitting on a couch with the girl I was dating and we ended out making out at the end of the night; when I watched this, I was streaming it on my Kindle and my wife was already asleep.  In a way, it was indicative of how 1994 was ending for me personally–I’d gone from secretly renting movies at the video store and watching them alone on  Friday night to picking out something that would be a good “Date Night” movie.  And the movies themselves began to become more and more intertwined with where and when I was as well as who I was with.