(The New York Times) -- When I was in second grade, my teacher held a contest: The first students to memorize their multiplication tables would get dinner at McDonald’s. I was one of them. I’d like to credit hard work or the motivation of those golden fries, but in truth it was easy. I learned it from “Schoolhouse Rock.”
It was not the last time that watching too much TV would pay off for me, but it was perhaps the sweetest.
If you were an American kid around when I was (nineteen-seventy-cough), you probably have “Schoolhouse Rock” hard-wired into your brain too. The musical shorts, which began airing on ABC in 1973, taught Generation X multiplication, grammar, history and, eventually, nostalgia...
... But whatever its limits, “Schoolhouse Rock” at least told us we were equal: We counted with the same numbers, our hearts pumped the same blood, we were entitled to the same inalienable rights.
And it operated in a period when people saw the same media and accepted the same facts. Months after its premiere, the Watergate hearings also aired on national TV. They were able eventually to turn even many Republicans against President Nixon, in part because Americans watched the same story together, without a partisan cable and internet ecosystem to spin the investigation as a witch hunt.
It’s tempting to say that you couldn’t make “Schoolhouse Rock” again today. But I’m sure you could, even if it would be slightly different. Current kids’ shows like Netflix’s “We the People” are in a way exactly that. What you couldn’t create again today is the mass audience, or the context in which we assembled, one nation, sitting cross-legged in front of our cathode-ray teacher.
Us ‘90s kids (late Milennials and early Gen Z) as well!
Radio Faux Show Volume 2, Number 36 (October 2, 2022): The National Recording Registry Part Two (1955-Present)
Radio Faux Show Volume 2, Number 36 (October 2, 2022): The National Recording Registry Part Two (1955-Present)
This Week’s Theme: The National Recording Registry Part Two (1955-Present)
This week presents Part Two of the Faux Show’s four-part series on the National Recording Registry. If you missed Part One, take a look to learn about the Registry and see my selections from before 1955. This week’s show is Part Two and presents the selections from 1955 to the present.
Welcome to Radio Faux Show volume…
About the anon who was talking about Demetri having some kind of time powers and it got passed down to MC (which is my theory also). They mentioned the number ten seems sus, but did they also notice in the tattoo options that one of the tattoos MC can have is Alex's number - the number 10?!?! Yeah, ten is definitely important! I don't have any theories on why yet, but it will be in the back of my mind, just chilling, until something else pops up like a puzzle piece you found under the table days after you put the puzzle away.
Welcome to the Tournament of the hottest boy band members of the 80s/90s
It was inspired by all the tournaments pitting famous beautiful people versus famous beautiful people of specific eras and specific jobs. The polls should start on the 8th of April, leaving around two weeks for submissions. I’ve compiled a list already but you can submit other boys that aren’t on the list through a google form. Feel free to submit non english speaking boy bands.
Propaganda
The only pictures accepted will be pictures from the 80s/90s and very early 2000s. To submit propaganda either use the same google form as for submissions (even if the guy in question is already on the list) or through the submission box or tag me on posts.
Comparison: My 16mm print of Schoolhouse Rock - Interjections has quite a few differences from the home video versions that have been the norm for decades. The kid getting the shot sounds like Bob Dorough did the voice originally. Also the girl saying hey also sounds like Dorough. Sound fx also diff. Also, interesting is that they didn’t just use the first chorus and duplicated for the second chorus. There’s actually a different take used in the original version. You can hear the slight differences in their voices especially the last little girl that says hey. The first time through there’s barely any voice, and they didn’t even fix it. Kind of funny. Also, strange is that last moment is muted, which is strange since it’s the most memorable.
The Individualism of Gil Evans is an album by pianist, conductor, arranger and composer Gil Evans originally released on the Verve label in 1964. It features Evans’ big band arrangements of five original compositions (two cowritten with Miles Davis) and compositions by Kurt Weill, Bob Dorough, John Lewis and Willie Dixon.