Hating the Beatles

In 2012, the Beatles are a given. The Baby Boomers were their first fans, and kids today eventually discover them (not by virtue of having to dig particularly deep) and they become fans too. I've had arguments with teenagers over what album a Beatles or Stones song was on, which is a fruitless exercise on their part, as I've been listening to that album for nigh on 50 years, and they bought some compilation or a couple of downloads and read something on Wikipedia and think they're experts. No, you're not. I also had this exchange once with a high school student, when a Beatles song came up on my iPod mix over the car stereo. "I like the Beatles," he said. "What albums do you have?" I was taken aback by this. "All of them," I responded. Like, which one wouldn't I have? I mean, they broke up in 1969; by now I've been able to scrimp and save to get them all. Sometimes you forget what it's like to be a working stiff.

When the Beatles first arrived, they were not a given. Rock and roll had been around, of course, and was regarded by the establishment as a necessary evil. It was for kids, it made money, and if you wanted to, you could ignore it. Rock was an offshoot of 50s culture; The Wild One and Rebel Without a Cause predated the debut of Elvis on network television. Mainstream culture could sneer at rock if it wanted, but it wasn't the main threat: it was teenagers, period, that were an upsetting phenomenon. It was the other way around in the 60s, where the popular culture became an offshoot of rock, and that all began with the Beatles. Their breakthrough marked a new music, an invigoration of rock via that music, a new look and style, and worse, it came from another country. Popular music was threatened by rock in the 50s; in the 60s, rock became popular music. And that was that.

The Beatles weren't alone in making this happen, but they were at the forefront. Their popularity was ridiculous, and the idea of Beatlemania, and teenaged girls going hysterical at concerts, must have been a little scary to the popular performers of the time, who had no one of any age going even mildly hysterical. In their days, folks like Sinatra had their hysterical followers, but at least they shut up during the performances of what it was they were hysterical about. Not the Beatle maniacs. They just never shut up until the Beatles finally gave up performing live. Who could blame them?

As the Beatles led their cultural upheaval, there was reaction. And if you think I'm exaggerating the extent of their upheaval, measure it by the extent of the reaction. From the mainstream to the depths, from Dean Martin to Homer & Jethro, the threat was clear, and the return fire fairly immediate.



I have nothing against Homer & Jethro, but please, guys, can't we just coexist?

The A.V. Club has put together The Beatles Just Got To Go?: 18 anti-Beatles songs, a roundup of reactionist music, mostly from the time, but a few a little later. I disagree with their interpretation of the Barbarians, but then again, Moulty, the one-handed drummer, was another story altogether. The collection just shows that the Beatles really meant change for a lot of people who didn't want that particular change.
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Riding off into the weekend with Mr. Toad

An opening day attraction in both Disneyland and Walt Disney World, only the smaller California version still exists. But, thanks to the interwebs, where people have time on their hands, you can still ride it, not via somebody's shaky handheld VHS video, but via...some software or other.

As far as we know at Grinwout's, this is the only Disney attraction ever to send its guests to hell. Except, perhaps, for "it's a small world," but we refuse to have that discussion.


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Gilbert & Sullivan

During a trivia night, I asked a group of teenagers to fill in the blank: "For I am the very model of a [blank]."

Blank indeed: blank stares all around.



Gilbert wrote the words, Sullivan wrote the music, and they were a big hit in their day. Patter songs, like that of the Major-General, were a feature in their operettas. So was patent silliness, like the encores in this trio. John Reed was a legendary G&S performer, and one imagines that his work with the D'Oyly Carte Opera Company is representative of how the shows were performed when they were originally produced.



I can't resist Todd Rundgren and Taj Mahal having their go at it, but John Reed was better.



We could go on. The movie of The Pirates of Penzance is a perfectly good starting point for G&S noobs, although fans of the Marx Brothers might prefer the 1920ish The Mikado with Eric Idle. It doesn't matter. Either way, don't think of these as dead old examples of an art form that is long dead. Today's musical theater is nothing more than G&S in modern dress: singing, dancing and joking around at a high level. And the music is wonderful, and the lyrics, for the most part, timeless.

"Ring the merry bells on board-ship, wend the air with warbling wild."
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Star Wars recast

What we've got here is the radio play of Star Wars, performed by voice actors doing pretty much every voice you can think of from George Takei to Stimpy, changing roles after every scene. It takes a minute or two to go through the introductions and get started, but be patient. You will be rewarded.


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Marilyn

We've reached the point where Marilyn Monroe doesn't exist anymore. Instead, the girl born Norma Jeane Mortensen on June 1, 1926, has morphed into whatever the beholder wishes her to be. Needless to say, this arises to a great extent from the way she looked. Keep in mind that she died at the age of 36, which means that throughout her entire career she was pretty much always young (to varying degrees) and always sexy (ditto). She was referred to as a sex symbol during her lifetime, but worked hard to become a good actress. The pressure to be Marilyn Monroe was rough on her, as it would be on anyone. We don't have to look far nowadays to see people who can't handle the pressures of fame and publicity, but she was one of the first to suffer those pressures in a very public fashion (her stardom began as the studios were losing control of their publicity machines, not to mention the fact that her marriages to the world's greatest baseball player and the world's greatest playwright were noteworthy in and of themselves). Apparently she died as a result of those pressures.

One wonders what she would have been like if she had not died. Would she have matured into a great actress? Would she have faded away as her sexy image was passed along to younger actresses?

I'm betting that young people today don't know much about MM's work. They certainly know her name and her fame, but have they seen any of her pictures? Some Like it Hot is still one of the funniest movies ever made. It should be on everyone's must-see list. Bus Stop is corny fifties drama, but it's good corny fifties drama and MM is perfect in it. Watch The Misfits if you want to judge where her acting was headed. And if you want to see her shine at her best, check out How to Marry a Millionaire or one of her other signature roles, Lorelei Lee, in this one, Gentlemen Prefer Blondes:



Whatever you do, do watch the movies. The Marilyn Monroe that the movies created was the one on the screen. See that one, and let it go at that.
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More Eurovision

Hairpin entertains (?) us with songs that didn't make it to the finals this year.

I can't imagine why. Especially the popo guys.

Five Songs That Should Have Made It to the Eurovision Song Contest Finals

And here's our original link, if you missed it.
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The depths of ventriloquism

Automatonophobes of the world, unite! You are not alone. Coulrophobia gets all the press these days, but let's face it: clowns aren't half as scary as ventriloquists' dummies. It's due to the old uncanny valley: the more something that isn't human approaches humanness, the weirder it gets. And what approaches humanness without actually getting there as well as a good old-fashioned dummy, especially one that's been through the mill of time and would be weird looking even if it weren't a dummy?

io9 starts the ball rolling with their Vintage ventriloquism portraits were incredibly unnerving, but then there's the link back to Flickr with more gems than the average person can bear: the one with the woman and the soldier will be keeping me up nights, I'll tell you that.

A little research into ventriloquism uncovers what you would expect, that it goes back to the ancient Greeks and had all sorts of ups and downs and connections with witches and whatnot up until the birth of popular culture, where it found its metier on the stage, and ventriloquists learned to drink water and throw their voices at the same time (except for Albert Brooks, whose dummy used to drink water while Brooks himself talked, but that's postmodernism for you). The greatest popularizer of modern ventriloquism was Edgar Bergen, who gained his popularity on the radio. Which is a poser. Think about it. A ventriloquist. On the radio. No wonder his lips moved so much when he finally made it to television.

Ventriloquism isn't seen much anymore, but automatonophobes can get their fix at places like Walt Disney World, where the automatons are animated and in many cases are even more uncanny. My vote for the one to avoid?



When the Mouse starts talking, I'm out of there.
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