
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”
Those are the first lines of the second verse of “Right Here, Right Now”, a song by Jesus Jones that hit number two on the Billboard Hot 100 (and topped the alternative chart) in late July 1991. Written about a year earlier, it is an optimistic song that celebrates what lead singer Mike Edwards describes as “watching the world wake up from history.” Even though the song is approaching its thirtieth anniversary, it still gets some airplay, especially on alternative radio stations that cater to the aging teenagers of the Nineties.
In what is now an annual Pop Culture Affidavit tradition, it’s time for us to celebrate Festivus, the holiday that is for the rest of us! This year, I’m joined for the airing of grievances and the feats of strength by The Irredeemable Shag. We complain about fandom and other things that irritate us and then follow that up by looking at War Dancer #4, which was published in 1994 by Defiant Comics.






It’s the sixth episode of the seven-part miniseries IT CAME FROM SYNDICATION! This time around, I continue my look at syndicated television from the 1980s and 1990s with a look at the “drama” category, which encompasses action, science fiction, and horror. I’m joined by friend and fellow podcaster Michael Bailey (Views from the Longbox) to talk about everything from Friday the 13th: The Series to Highlander.
It’s the fifth episode of the seven-part miniseries IT CAME FROM SYNDICATION! This time around, I continue my look at syndicated television from the 1980s and 1990s with a look at cartoons. Join me and Amanda (for her final appearance on the miniseries) for a look back at our childhoods and classics like He-Man, G.I. Joe, TMNT, Voltron, Jem, My Little Pony, Thundercats, and many more!

Hires Root Beer: Speaking of root beer, a brand that I drank a lot of when I was younger but I have specific memories of is Hires Root Beer. This, like RC Cola and Fanta, has a much longer history than I expected and is, in fact, the second-longest produced soft drink in the United States. It was originally created in Philadelphia but I actually always associate it with New England; specifically, I place it in New Hampshire and the years my family spent vacationing on Kezar Lake in North Sutton. And while I am sure that my time at the lake and time visiting Weirs Beach and Lake Winnepesaukee is a blog post and podcast episode to rival Rob Kelly’s “Mountain Comics,” I will say that Hires was a pretty popular brand of root beer up there and I think that we had at least one or two pieces of merchandise–trinkets, magnets, pencil holders–with the logo on it because we had cashed in a billion arcade tickets from playing hours upon hours of skee-ball.

Better Than Ezra. Credit for introducing this band goes to my friend Valerie, who was really into this band when we met in the fall of our freshman year of college. Deluxe had come out in February of 1995, so I was within about six months of its release when she introduced me to them, but during that February, I remember that I had just started going out with a girl whose favorite band was Live, so there was a lot of listening to songs that featured references to afterbirth (seriously … you couldn’t have thought of another lyric?). Better Than Ezra, and by extension bands like Gin Blossoms and Dishwalla (both of whom played Loyola at the end of our freshman year) were this lighter, radio-friendly rock-pop that washed up in the wake of the end of the earlier part of the decade and songs like “Good” and “In The Blood” found their way onto my car mix tapes. I personally prefer Friction, Baby, which was the 1996 follow-up to Deluxe, but I will say that these 3-4-minute pop/rock ditties were much more replayable than a seven minute-plus metal dirge.
The Clash. Yes, even though I said that Dookie was my gateway to other punk music, I didn’t buy my first Clash CD until the very end of high school. I had been watching some documentary about the history of rock and roll (in fact, it may have actually been called The History of Rock and Roll) on channel 9 and saw the episode about punk, which covered the 1970s punk scene and went specifically in depth with The Ramones, The Sex Pistols, The Clash, and X. The last of those groups was never one I would get too attached to, but I had heard of the Ramones by that point and shortly thereafter (this would have been May or June of 1995), I took my hard earned money to Borders and picked up the U.S. version of the Clash’s first album (it was the only one available at the time and the only copy I ever owned, so I can’t even say I was doing punk right). I really loved it, especially their cover of “I Fought the Law” (which, like a dork, I will pair with Mellencamp’s “Authority Song” on playlists from time to time).
The Cure. Now, I can’t say that I’m a huge fan of The Cure. I don’t own a single album, and I think I may have only ever downloaded four of their songs: “Just Like Heaven,” “Love Song,” “In Between Days,” and “Lovecats.” But I did have a friend in high school who absolutely loved The Cure and had I not been lured in by the siren call of “I Alone,” I would have probably let her get me into the band. Because I have found since that I really do enjoy quite a bit of the 1980s new wave/alternative sound than I was willing to admit to in high school (except Morrissey … sorry … I can’t …).
Sarah McLachlan. So I’m in my freshman year of college and listening to, of all things, a CD put out by Loyola’s a cappella groups, The Chimes and The Belles. One of the tracks on the CD (and I own the CD … in fact, you can hear selections from it in the episode) is The Belles covering “Elsewhere,” a song I had never heard before and I think I might have had to ask someone where the song was from. At any rate, that was the first time I had heard anything off of Fumbling Towards Ecstasy and that was strange considering that the album had been out for easily a year and a half and was right in my 10,000 Maniacs/Cranberries/Lisa Loeb wheelhouse. But again, when you’re tracking down old Metallica albums or trying to find those rare Nine Inch Nails singles because that gets you cred with a group of guys who could barely get a girl to look at them, you tend to miss the siren call of Canadian singer-songwriters. In the years between that moment and the early 2000s, I’d buy most of the rest of her discography at the time, including Solace, which has two of my favorite songs of hers (“Path of Thorns (Terms)” and “I Will Not Forget You”) as well as a book of her sheet music. In fact, I remember downloading the guitar tab to “I Will Remember You,” printing it out, and figuring out how to play it on the piano (something I did for Green Day’s “Good Riddance (Time of Your Life)” as well). But the piano’s influence on my musical tastes is actually going to be the subject of another podcast episode, so I’ll move on.
It’s time to return to the music of the early 1990s … and I’m bringing Amanda along for the ride as well! This time around, we take a look at ten albums that influenced us as teenagers. You’ll hear us talk about Seattle icons such as Nirvana and Pearl Jam; legendary Nineties recording artists like Dr. Dre and Snoop Dogg, Green Day, Stone Temple Pilots, and Mary J. Blige; as well as everyone from Madonna and Queen to the Dixie Chicks and Denis Leary.