archives

 

Scroll down for categories and listings. Click listings below or graphics in right column to access individual pages. Click on Politics, Pentecost, Potboilers, Poems, or Page One to access those pages. Click Archives graphic above to return to Pop Culture main page.

 

Schlock, Rock, Pop, Punk, Funk, Folk, Soul & Salsa

 

Carpenters: Forbidden Fruit, 1974

 

Percy Faith's Challenge to Mewzick, 1975
 
Anne Murray: The Woman Who Would Be Schlock, 1976

 

Debby Boone: The Song They Said Couldn't Be Reviewed, 1978

 

P-Funk: Parlentelecy v. the Placebo
Syndrome, 1978

 

Remembering Kraftwerk, 1978

 

Pearl: Act of Contrition, Evie Sands, 1978
 
A Kinks Review Live! 1980

 

A Joan Jett Fantasy, 1982

 

India: Reverse Crossover, 2000

 

My Favorite Song In German, 2002

 

Al Green: Playing the Audience, 2003

 

The Review of Norah, 2004

 

Iris DeMent: The Okie Aretha, 2005

 

The Four Seasons: Jersey Boys, 2010

 

Bobby Darin and Bobby Kennedy, 2010

 

 

Country

 

Willie Nelson's Historical Burden, 1980

 

Merle Haggard
The Right Crowd, 1999
His Own Kind of Guilt, 2000

 

Johnny Cash 1932-2003

 

Loretta Lynn
A Manner of Speaking, 2004
 
 

Disco

 

Cerrone: An Open Letter, 1978

 

Weird Post-Disco Bee Gees, 1979

 

Gino Soccio's Ameridisco High, 1979

 

Disco Defense, In These Times 1979

 

Village People 1979

 

More Disco Defense, ITT 1980

 

Diana reviewed in The Nation, 1980

 

 

Rocky, the Rust Belt, and Grease:

How Stallone and Travolta Sabotaged the Four Seasons

 

 

 Under Construction

Those of us who remember the original stage production and its specific references to Italian and Polish working class Chicago in the 1950s can only marvel at its successful transformation into an Edenic, sitcommed, Los Angelized Fiddler On the Roof.

Nixon, and his Southern strategy helped make disaffected white Southerners stand in for all patriotic whites with class (and race) resentments.  Country music became the favored format for beleaguered patriots. 

Nixon’s strategy worked up to a point.  He was able to sell himself to the Grand Ole Opry and Country music produced some excellent resentful patriotic music.  But in the long run Country couldn’t speak for northern urban whites because its regional resignation didn’t fit the circumstances of living inside of multilayered, fluid, but existent economic classes.  Newark , New Jersey didn’t lose the Civil War, it lost the Sixties. 

The Four Seasons could have fit into the “Motown Frame” if it had continued to develop and expand to represent the stories of the other migrations to Northern cities.  But that frame cracked after LBJ split apart the country by embracing both the Civil Rights Movement and the War in Viet Nam, and then fractured as the economy bifurcated and Motown abandoned Detroit to the Rust Belt and moved to LA. 

 

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