I’m listening to episode #46 of Andrew Sandoval’s Come to the Sunshine podcast, from six years ago, and a song that really stands out is “It’s You” by The Millenium. It sounds like it’s Fleetwood Mac in 1977, but it’s from 1968.
Something that Denro and I talk about incessantly is how drastically music changed year-to-year in the 1960’s. The best place to go for a thorough and insightful exploration of Sixties popular music is Andrew Sandoval’s unique and outstanding online show, Come to the Sunshine.
After Pop gave way to the Psychedelic shake-up of 1967, 1968 was the year when underground FM stations started to take over the older teen market. The influence of FM on AM could be heard in records like this one, which became an unlikely top 20 hit.
What made underground, aka Hippie, radio possible in the Sixties? The same thing that was behind other 60’s happenings like NASA, the pre-Internet Arpanet, and the Vietnam War. The United States Government, that’s what.
To promote the adoption of FM stereo radio, on January 1, 1967 an FCC mandate went into effect that required radio broadcasters to no longer simulcast their AM signals over their FM stations. College-aged disc jockeys started to flood the airwaves in major cities, formats changed overnight, and instead of playing the latest singles they played album cuts.
The iconic Boston station, WBCN, had an overnight format change, but it didn’t happen because of the simulcast requirement. What made ‘BCN possible was the desperation of the owner of a failing all-Classical station. Former ‘BCN disc jockey Carter Alan, who is now on WZLX in Boston, has the story in his excellent book, “Radio Free Boston: The Rise and Fall of WBCN.”
It’s going to be a while, probably well into 2015, before we see Stephen Colbert on CBS, shorn of his faux cable news persona. The truth is that I am rarely staying up late enough on weeknights anymore to watch Colbert, so I use the DVR catch up on the weekends.
Internet pioneer Vint Cerf was on The Colbert Report recently, and although he was interesting he took too much credit for himself and Bob Kahn. Why no mention of Bob Taylor, who originally envisioned the Arpanet and got it up and running before joining Xerox PARC? Cerf should also have given an up-front shout-out to Tim Berners-Lee, who invented the World Wide Web which is, let’s face it, what most people think the Internet is.
Every day I receive a large selection of comic strips from GoComics in one of my e-mail bags, for which I pay a smidgen less than $12/year. One of those strips is “Pearls Before Swine,” by Stephan Pastis (yes it’s Stephan, not Stephen). Last week, on Wednesday, I saw this.
The second panel of “Pearls” sure looked like it was either Pastis trying to draw like Bill Watterson, or perhaps it was by Watterson himself, but maybe just a bit out of practice. On Thursday I had no doubt that we were seeing the return of Bill Watterson to a syndicated comic strip for the first time since December, 1995, when he brought “Calvin & Hobbes” to a poignant, if early, end.
On Friday, Michael Cavna, The Washington Post’s comics blogger, made the official announcement. Pastis tells the back story at this link. I’ve stitched Watterson’s four panels together into a single strip.
For myself, what makes Watterson’s return to (what those older than myself call) the Funny Pages truly special is its connection to cartoonist Richard Thompson, whose Parkinson’s Disease prevents him from continuing his own superb comic strip, “Cul de Sac.” The original art from last week’s “Pearls Before Swine” will be auctioned and the proceeds donated to the Michael J. Fox Foundation. I am, for personal reasons I have been asked to keep private, hooked into Michael’s disease and his foundation, and that was even before “Cul de Sac” first appeared in The Boston Globe.
The connection between Thompson, Pastis, Watterson, and M.J. Fox is Chris Sparks, the guy behind Team Cul de Sac. This is Chris enjoying holding onto the original art while he can. It will be on display at the Heroes Con in Charlotte, NC from June 20-22.
Watterson seems to be slowly entering the public eye again, through his art, if not in person. Besides drawing the poster for the documentary “Stripped” that I mentioned back in February, he drew this picture in recognition of the recent retirement of Lee Salem. Salem was the guy at Universal Press Syndicate who bought “Calvin & Hobbes” but who missed seeing the potential in “Dilbert.”
Here’s another look at the “Pearls Before Swine” original art. I’d love to know what Watterson uses when lettering, because the ink on his originals never looks very black compared to the line art. If it’s a type of India Ink he must dilute it.
Edeka is a huge supermarket chain in Germany. I’ll let you look up what “supergeil” means.