The “Christmas single” phenomenon is unknown in the U.S., unless you’ve ever watched Love, Actually.
It’s sort of the “Black Friday” of the British music industry. Since so much music is sold (or, at least, used to be) during the holiday season, having the #1 song on the charts during that time gives one lucky record company a financial boost.
After Slade took the top spot in 1973 with their “Merry Xmas Everybody” — beating out “I Wish It Could Be Christmas Everyday” by Wizzard — “an emotional attachment to the Christmas countdown has developed, and for many [in the United Kingdom], it is part of the fabric of their childhood.”
So I doubt many American readers care that there’s a campaign to get Iron Maiden’s old chestnut “The Number of the Beast” to the top of the charts in time for Christmas, “for a laugh.”
What’s really funny (sort of) is that, during the early 1970s, such a campaign would have been denounced on the front page of every British tabloid, and remarked upon within American newspapers’ “entertainment” sections, at the very least.
Because culture-watchers would see it as yet another sign of the satanic takeover of the culture, and the world — the one I wrote about last week.
One of the hallmarks of great pop songs, recorded or live, are great harmony vocals. While non-melodic rap and death metal are often largely exempt from this artistry, just about all classic pop music is known for its harmonies, from Motown, country music and folk, to the Beach Boys and the Beatles. Even in hard rock, plenty of numbers by The Who and The Rolling Stones have great backing vocals behind the gruff bluesy belting of Roger Daltrey and Mick Jagger, respectively. Harmony vocals add polish to a recording or performance, and they add a subtle (sometimes not so subtle) ingratiating element to them as well: Hey, multiple people are singing along with the lead singer. Maybe I should join in and sing along as well, while listening at home, in the car, or in the audience!
In the past though, the solo performer who plays out in bars and coffeehouses armed with only his or her guitar, or the songwriter recording demos for his band in a spare room have historically been at a distinct disadvantage to a full ensemble until recent years. In 2007, the Canadian firm of TC-Helicon debuted their VoiceLive unit; currently, it’s on its third iteration. As one of those aforementioned persons recording demos on a digital audio workstation (DAW) in his den, I’ve been frustrated by the limitations of only having my (not so great) voice to work with, and have looked for ways to augment it electronically. So when I saw the demo of the VoiceLive 3 unit at Sweetwater, I knew I had to add it to my sonic arsenal:
Of course, what goes into the VoiceLive 3 will determine what comes out of it; it won’t turn you into Kate Bush or Steve Winwood overnight. But as the many demos of the VoiceLive 3 and previous VoiceLive units uploaded to YouTube by TC-Helicon attest, with a little practice, the units do a very good job of turning decent singers into one person choirs, and decent singers with lush harmonies behind them sound that much better.
Inside the VoiceLive3 is massive amount of sophisticated electronics to generate its harmonies, which it cues off of a guitar plugged into it, a MIDI-equipped keyboard, or a backing track from an iPod or other miniplug-equipped music player. Or the song’s key can be set manually, and the VoiceLive 3 will do its best to guess the harmonies. On the outside of the unit, the VoiceLive3 has a metal case and multiple footswitch buttons to trigger harmonies on and off, along with other functions such as delay, reverb, and doubling, plus a built-in guitar tuner. And there’s a rotating dial to sift through the units many presets. The rear of the unit contains multiple inputs and outputs including a combined XLR and ¼” mono input for the lead vocal, stereo XLR outputs, MIDI in- and outputs, guitar inputs and outputs, and a miniplug input designed to allow backing tracks to be played from an iPod. So it’s possible to use the VoiceLive 3 even if you don’t play an instrument.
Whether you’re seeking salvation or inner peace, a god to worship or add to your home-made altar, the pop culture pantheon is at your disposal so that you may pick and choose the gods and tools of worship to service your every emotional, spiritual, and even material need.
10. Harry Potter
When they aren’t re-reading their holy texts, Potterheads commune at MuggleNet to chat about their god, study their faith and perform the usual acts of tithing. According to the Facebook page “Being a POTTERHEAD” (which is classified as a non-profit organization),
Harry Potter has reached out to 200 countries, spoke out in 69 languages, and has touched the lives of 400 million people. It is the phenomenon that ignores race, age, gender and religion and has brought us all together despite our differences.
Also known as Potterholics, Potterites and Pottermaniacs, Potterheads should never be confused with potheads as their allegiance is strictly Wizard, not weed.
Pop culture has become as much of a religious powerhouse as Judaism, Christianity, Buddhism or any other faith. Don’t believe me? Sit in a college classroom. Better yet, attend a fan convention or simply rent the film Trekkies. Films, shows, bands, comic books and their like have become, for some, sources of spiritual nourishment. Do you feel the power?
12. What was once DVR-able is now weekly appointment television.
“Appointment TV” doesn’t begin to describe your weekly ritual. All pressing engagements are pushed aside, phones are silenced, and ritual food is laid out on the coffee table to be partaken in as the ceremony commences. You still DVR the show for good measure, being sure to re-watch at least once, if not multiple times in deep study so that you may discuss the meanings of both text and subtext with fellow fans.
1. “Your Mother Should Know” (1967)
From Magical Mystery Tour, this is Macca’s foray into the 1920s. If the song seems odd, check out John Lennon’s face in the opening sequence. You can almost hear him thinking: “Paul, are you kidding me with this crap?” But, they all toked up and bit the bullet for Paul’s attempt to keep the band unified in the wake of Brian Epstein’s accidental overdose, memorializing for all time the image of four raggy hippie dudes dancing badly in white tails.
You don’t normally think “cultural commentary” when you watch a Paul McCartney video. But, with his latest video release for the song Appreciate, the septuagenarian King of Rock continues to pull new tricks from up his sleeve. This time, a catchy song and dance number transcends the usual McCartney fantasyland, providing some smart commentary on human culture in an increasingly technological environment. In McCartney’s museum, the humans doing everyday things are the displays to be studied by a robot known as “Newman”. An artistic interpretation of left and right brain segments is displayed as McCartney walks this New Man (get it?) through the exhibit, counselling him on human behavior and how to groove. By the end of the video, even the humans are getting into the act, dropping their technological fancies in favor of dancing to the beat.
The robot itself shouldn’t come as a surprise to hardcore McCartney fans. Back in October, when he graced the cover of Rolling Stone McCartney commented on visions of a robot, possibly influenced by one of his favorite stories shared with his 10 year old daughter, Beatrice, is The Iron Giant. In press for the video’s release, McCartney commented:
“I woke up one morning with an image in my head of me standing with a large robot. I thought it might be something that could be used for the cover of my album ‘NEW,’ but instead the idea turned out to be for my music video for ‘Appreciate’. Together with the people who had done the puppetry for the worldwide hit ‘War Horse,’ we developed the robot who became Newman.”
Having developed a keen interest in filmmaking when he was still one of the Beatles, McCartney has come a long way with his films from his first directorial foray, 1967′s Magical Mystery Tour. Far from the acid-induced country bus tour, Appreciate provides an up-tempo perspective on the 21st century from the guy who, not long ago, was singing about his Ever Present Past.
Yet it isn’t Microsoft that’s keeping Macca relevant among Generation Hashtag; cultural commentary aside, McCartney still knows how to rock a beat. Dubbed a “remarkable album” by POPMatters, NEW was ranked the 4th best album of 2013 by Rolling Stone. Transcending the pop fluff that perpetuated so many of his hits in the 70′s and 80′s, McCartney has entered a new era as much motivated by experimentation as reflection.
McCartney is set to tour with Newman in Japan. Perhaps a Godzilla mashup is already in the works.
Here’s a really cool instrumental jazz take on “I Want To Hold Your Hand” by guitarist Grant Green, courtesy of my friend, PJ Lifestyle’s own Susan L.M. Goldberg…
If you want to submit a song for PJ Lifestyle Music at Midnight, hit me up at email@example.com. Your requests don’t have to fit into any theme – we just love great music, so keep those requests coming!
Over the past few days we’ve been looking at some of the best Beatles cover tunes. That’s because 50 years ago this week, the Beatles first appeared in New York City, ushering Beatlemania in the USA.
Some covers of Beatles songs actually came out while the Beatles were at the height of their career. The Mamas & The Papas recorded their version of “I Call Your Name” on their seminal debut, If You Can Believe Your Eyes And Ears. While the Beatles’ version was a ska-influenced rocker, Mama Cass and company gave the song a Vaudeville treatment. Here’s a recording from the Monterrey Pop Festival.
Fifty years ago this week, the Beatles first appeared on The Ed Sullivan Show. This week, we’re saluting that anniversary by checking out some of the best covers of Beatles classics.
In 1995, Liberty Records released a compilation entitled Come Together: America Salutes The Beatles. They may as well have called it Nashville Salutes The Beatles, as the album’s artists came from the world of country and Contemporary Christian music. Christian singers Susan Ashton and Gary Chapman teamed up to give “In My Life” a pleasant country sheen.
This week, we’re looking at some of the best Beatles covers out there, as we commemorate the 50th anniversary of the Beatles’ first appearance in the States.
Virginia-based rock band Mae released their version of “A Day In The Life” in 2007, and they stayed faithful to the original.
To commemorate the 50th anniversary of the Beatles’ first appearance on The Ed Sullivan Show, we’re looking at some great cover versions of Beatles songs.
On his 2009 album Goodbye Hello, singer-songwriter Peter Mayer put his own spin on a collection of Beatles classics. His version of “Blackbird” shows off his virtuoso guitar skills and his amazing voice.
Gay at a time when homosexuality was a felony and Jewish in an era of “polite” antisemitism, one Liverpool lad broke into entertainment management at a time when the Anglo Lords in London ruled the biz. 50 years later the music world is only beginning to acknowledge that there’d be no Beatles without their manager, Brian Epstein.
This past weekend, Vivek Tiwary, the Gen-X producer that brought Green Day’s American Idiot to Broadway, spoke to an enthusiastic crowd at The Fest for Beatles Fans about his mission to bring Epstein’s little known story to life via a critically acclaimed graphic novel, The Fifth Beatle, released by Dark Horse Comics.
What I unearthed after much difficult research (there is a paltry amount of information readily available on Brian, which is part of why I want to bring his story to the world) was not just an inspirational business story and a blueprint for what I wanted to accomplish with my career, but also a very human story, as summarized above. It’s a story I could relate to—and wanted to relate to—on so many levels. Brian became my “historical mentor”, if you will. A person from whose history I’ve tried to learn from—both what to do and what NOT to do. Brian was certainly a flawed and imperfect hero, but a hero all the same.
Tiwary has drawn inspiration from Epstein’s trailblazing ingenuity, citing that without Epstein’s persistence, Ed Sullivan never would have brought The Beatles to America. “People scoffed when I brought Sean Combs to Broadway in A Raisin in the Sun because they didn’t believe that Broadway attracted a black audience. I told them that was ridiculous; if we gave them a product they wanted, they would come.” Like Epstein decades before, Tiwary’s was a winning gamble.
PJ Lifestyle editor Dave Swindle offers his five picks to get the debate going. This is presented in order counting down to favorite, with favorite tracks offered. Agree? Disagree?
5. Rubber Soul
As the world looks back on the 50th anniversary of the Beatles’ first appearance on The Ed Sullivan Show, we’re taking some of the best Beatles covers out for a spin.
On their 2000 release Abandoned Shopping Trolley Hotline, British band Gomez included a cover of “Getting Better,” which features the smoky vocals of Ben Ottewell. The Philips corporation used a snippet of this one in a series of commercials several years ago.
Beatles-themed sensory overload: That is how to describe The Fest for Beatles Fans in New York City, held from February 7-9 to commemorate the 50th anniversary of the Fab Four’s appearance on The Ed Sullivan Show. What’s it like roaming a Fest that fills four floors of a New York hotel with musicians, historians, artists, authors, yogis, meditators, the famous and well over 8,000 fans from 40-odd states and five continents? Take a look at a day in the life of The Fest.
Beatles author and historian Bruce Spizer opened Saturday with a presentation on how the Beatles conquered America, no thanks to Dave Dexter, Jr., the Capitol Records guy who rejected hits like ”Love Me Do” and “Please Please Me” because they had “too much harmonica.”
Dear Prudence Farrow spoke about her spiritual journey in India with the Maharishi and the Beatles before leading an introductory transcendental meditation session. The room, dubbed the Ashram for the occasion, was so packed that more chairs had to be brought in for the standing room only crowd.
Good Ol’Freda Kelly, secretary to Brian Epstein, manager of the Beatles, and president of the original Beatles fan club, is signing autographs! Quick, get in line!
Still down to earth after all these years, Freda hates being the center of attention but enjoys being with the fans. Her grandson, a toddler, was happily drawing next to her. “Would you like Nile’s autograph?” she casually asked, to which I happily agreed. Good Ol’Freda is the Queen of Beatles Fans: regal, royal, lovely. Her documentary Good Ol’ Freda is a must-watch.
In honor of five decades of the Beatles’ influence on America’s music, we’re looking at some of the best covers of the Beatles’ songs.
On his 2001 album Poses, singer-songwriter Rufus Wainwright covered “Across The Universe.” I have to admit: I wasn’t crazy about this song until I heard this version, with its layered harmonies and acoustic pop drive.
This week, in honor of the 50th anniversary of the Beatles’ debut on American shores, we’re taking a look at some of the best Beatles cover tunes.
Peter Mayer has played guitar and sang in Jimmy Buffett’s Coral Reefer Band for 25 years, but his solo music blends folk, pop, and jazz in some truly unique ways. In 2009, Mayer recorded an album of Beatles covers entitled Goodbye Hello. On this album, he took “We Can Work It Out” and turned it into a duet with Nadirah Shakoor, also of the Coral Reefers and formerly with Arrested Development.
Fifty years ago tonight, as a nine-year-old girl living in a Boston suburb, I — along with 73 million Americans — watched the Beatles perform on the popular Ed Sullivan Show.
After watching I knew (as much as a nine year old was capable of knowing) that I had witnessed a MAJOR cultural and historic event.
How did I know this?
How could I NOT have known?
President John F. Kennedy famously said in his 1961 inaugural speech that “the torch has been passed to a new generation,” and on that night the Beatles became the musical torch.
Upon the show’s conclusion, I distinctly recall my father saying with complete confidence that “the Beatles are just a passing fad.”
His prediction was totally expected from someone born in 1922, but I knew otherwise. For the Beatles had a sound that was so unique, engaging, modern, young, hip and vibrant, I knew right then that my world was going to be radically different from that of my parents.
Sunday, February 9, 1964, was when a “cultural earth mover” began digging the divide that would later be called “the generation gap.”
Monday on the school bus my friends and I yelled Beatles’ songs out the window. When we arrived in our third-grade classroom there was talk of nothing else. How could there be when clearly something monumental had happened the night before?
All of us were emotionally affected but not capable of articulating exactly what happened. All I remember talking about with my friends was which of the four Beatles was the “cutest,” but instinctively we knew it went much deeper.
Now, viewing the Beatles’ performance through a 50-year historical, musical, cultural and celebratory lens, I ask myself, “Was I exaggerating the importance of the evening?”
That question demanded answers. Fortunately, “valid” scientific research was just an email away and about to be provided by a good friend.
My friend was also born in 1955, just a month before me. (He is well-known in media circles and asked that his name be withheld.)
Furthermore, he grew up clear across the country from where I was in Boston. So, for all those reasons, I was keenly interested in comparing our impressions, which I’ll do on the next page.
As the world mourned the loss of Soviet evangelist Pete Seeger last week, I encountered stories of real Soviets who found God, not in the hammer and sickle of the USSR, but in the smuggled bootleg lyrics of the Beatles.
How the Beatles Rocked the Kremlin is a fascinating narrative detailing Soviet Baby Boomers’ covert love affair with the Fab Four. Interviewing a variety of Russian Beatlemaniacs, including many post-Communist music scene movers and shakers, over the course of nearly two decades, British filmmaker Leslie Woodhead discovered that The Beatles were much more than a band in the U.S.S.R. For many Soviet teens, The Beatles were a glimpse at independence, freedom, and even God.
The idea that a rock and roll band could provoke the understanding of the intertwining of God and freedom, let alone inspire a search for the divine, is one that is largely lost on an American audience. After all, as Soviet teens risked Kremlin hellfire to listen to Beatles tracks, their American counterparts in the Bible Belt were throwing their records on bonfires, forced by a religious hierarchy that saw John Lennon and his band as a threat to Christ. Rock music then became the stuff of hippies, the class that scoffed at religious institutions and, like The Beatles, sought divine encounters and self-empowerment through eastern religions.
Arguably, the advocates of Beatles burnings did more to harm Christ’s reputation and following than John Lennon ever could. After all, as he explained, his ironic quip about Jesus was more of a warning than a declaration:
“I’m not anti-God, anti-Christ or anti-religion. I was not saying we are greater or better. I believe in God, but not as one thing, not as an old man in the sky. I’m sorry I said it, really. I never meant it to be a lousy anti-religious thing. From what I’ve read, or observed, Christianity just seems to be shrinking, to be losing contact.”
Ironically, it’s a warning that post-Soviet leaders like Vladimir Putin have heeded with their own political purposes in mind.
I almost didn’t watch the Grammy Awards. The last few years, I’ve debated watching — largely because my music tastes have become less mainstream over the years but for other reasons as well. But, since I’m a sucker for the awards themselves, I wound up watching Sunday night’s ceremony. I walked away from the telecast with these four quick observations:
1. Beatlemania Is Alive and Well.
The 50th anniversary of the Beatles’ arrival on U.S. shores takes place next week, and it’s clear that Beatlemania is still a force to reckon with. Ringo Starr performed “Photograph,” and he sounded pretty good. Paul McCartney performed “Queenie Pie,” a quirky, Beatlesque song off his new album, with Ringo on drums. Additionally, Sir Paul picked up a pair of awards at the ceremony. CBS will air a special on February 9 to commemorate the 50th anniversary. As a longtime fan, all this Beatles love makes me happy.
2. Daft Punk’s Costume Shtick Doesn’t Translate Well to an Awards Show.
French Electronic duo Daft Punk picked up four trophies, including the the two biggest prizes: Record of the Year and Album of the Year. They took the stage three times to accept awards and once to perform. The group is famous for their costumed performances, part of their attempts to maintain their anonymity (which I understand), but their futuristic robot getup didn’t work so well on the awards show stage.
Each time they entered the stage after a win, one of the featured performers had to give a speech for them. Each one began with, “I guess the robots wanted me to say…” The speeches were some of the most surreal moments of the night (even in light of Katy Perry’s performance.)
America is celebrating The Beatles’ Jubilee. 50 years ago this year The Fab Four landed on this side of the Atlantic and the ’60s officially began. (At least, that is, according to PBS.) With the announcement that Paul McCartney and Ringo Starr, the two surviving Beatles, will reunite at the Grammys on January 26 and perform a concert to air on February 9, 50 years to the day of their Ed Sullivan premiere, it would seem that Beatlemania (unlike much of organized religion) is making a resurgence in pop culture. Think the Fab Four are so yesterday? Think again:
A 2009 Pew Research Center survey placed the Beatles in the top four favorite music acts of Americans ages 16 to 64 — suggesting the band that helped create the 1960s Generation Gap ultimately helped us come together. Perhaps that’s the Beatles’ greatest gift: music that can be shared not only across the universe, but across generational lines.
Imagine a mathematician trying to quantify each Beatles’ album with Martha Stewart-like graphics. Wait, you don’t have to, just check out one Millennial’s 4 Simple Charts Visualizing The Beatles’ Major Albums and you’ll find out that The Beatles aren’t just for rock n’rollers, they’re for nerds, too. ”A new project on Kickstarter aims to tap into the passion of teenyboppers young and old withVisualising the Beatles, a book of infographics about each of the Fab Four’s major records.” Seriously: If that doesn’t make you want to start a Revolution, nothing will.
Huff Po details A Comprehensive Guide to The Beatles’ Invasion of Comic Culture for Millennial comic fans:
“Thanks to a book by Enzo Gentile and Fabio Schiavo, appropriately titled “The Beatles in Comic Strips,” we’ve been enlightened on the Fab Four’s history of comic book appearances. From subtle cameos to entire issues, the group managed to squeeze their iconic faces and psychedelic style into more than a few works of comic art.”
In March, Vans will release four pairs of Beatles-themed shoes for their Millennial audience:
“The most expensive of the bunch, the Sk8-Hi Reissue, features stylized portraits of all four Beatles running up the ankles apropos to cartoon portraits of each as they were animated for the film. The other shoes each feature psychedelic tableaus from the film. The Classic Slip-Ons play off the movie’s Sea of Monsters, showing trippy marine life swimming in an ocean of pink. The Era shoes depict all four band members, some wearing rainbow pants, hanging out in a yellow garden. And the final pair, a model called Authentic, is adorned with a pattern that reads “Allyouneedislove” running over and over again and into itself in purple, yellow and green.”
1. There once was a black country blues guitarist named Arnold Schultz. Originally from Kentucky, Schultz was a travelling laborer who had a huge impact on American blues music during his short life.
2. Schultz taught this guy, Ike Everly, a unique thumb-picking guitar style native to Western Kentucky.
3. Ike Everly taught this style to his neighbor and fellow coal miner Merle Travis.
4. Ike Everly would bring his sons, Don and Phil, into the family band. They’d grow up to form the famous American music group, the Everly Brothers. The Everly Brothers would go on to influence many musicians, including the Beatles. It is said that the harmonies in one of the Beatles’ first hits, Please Please Me, were inspired by the fraternal duo.
5. Merle Travis would go on to become a famous country and western musician, popularizing that fingerpicking style his neighbor Ike Everly taught him so much that it became known as Travis Picking.
6. Travis Picking is the style of guitar playing featured in the latest Coen Brothers release, Inside Llewyn Davis.
So, as we remember the life and legacy of Phil Everly and the Everly Brothers
We should celebrate the gift of American music
Without which the Beatles would not have existed
And we’d be forced to jam to techno-pop
Instead of those awesome Hillbilly tunes.
Thousands of people spend their Christmas vacation at Walt Disney World each year. Nearly 40 years ago, one of those vacationers was John Lennon – and that trip included a historic event.
In 1974, John was in the midst of his 14 month separation from Yoko Ono – a period he called his “Lost Weekend” – and he decided on a whim to take son Julian and assistant/girlfriend May Pang to the Magic Kingdom. He booked a room at the Polynesian Village Hotel, now called Disney’s Polynesian Resort.
Meanwhile, in London and New York, attorneys had finally put the finishing touches on the contractual paperwork that would solidify the Beatles’ breakup. The contract was four years in the making, and the other three Beatles were ready to sign.
After years of red tape and millions of dollars spent, the official dissolution papers were drawn up and ready to be signed off on at the Plaza Hotel in New York in 1974. George and Paul had arranged to fly in and be present, while Ringo signed the necessary documents at an earlier time, while still in England.
So as George, Paul, Apple lawyers and business managers grouped around a large table to dissolve the partnership, Ringo was on the phone to confirm that he was alive. Meanwhile, everyone in the room was curious about John’s whereabouts. This seemed especially ironic, given Lennon lived within walking distance of the Plaza Hotel.
The attorneys furiously worked to determine John’s whereabouts. May Pang picks up the story:
On December 29, 1974, the voluminous documents were brought down to John in Florida by one of Apple’s lawyers.
“Take out your camera,” he joked to me. Then he called Harold to go over some final points.
When John hung up the phone, he looked wistfully out the window. I could almost see him replaying the entire Beatles experience in his mind.
He finally picked up his pen and, in the unlikely backdrop of the Polynesian Village Hotel at Disney World, ended the greatest rock ‘n’ roll band in history by simply scrawling John Lennon at the bottom of the page.
And that’s how Walt Disney World bore witness to rock history.
When I turned 16 I had a choice: A Sweet Sixteen Party or a trip to London. Unlike the rest of my peers I chose the latter. Not for the Spice Girls, but for the Beatles. I had spent the past year and a half papering my walls with photocopies my Dad would make on his lunch hour from books I’d checked out of the library. While most of my fellow classmates were crying along with Jewel, I was blasting the likes of The Supremes, Frankie Valli and the Four Seasons, and the Mamas and the Papas. Backstreet Boys versus NSYNC lunchroom arguments baffled me as I tried to explain to my friends how Yoko Ono busted up my favorite boy band of all time.
Thanks to Brad Pitt I was beginning to think I had some kind of mental Benjamin Button syndrome until the other week when I came across the Pew Center’s “How Millennial Are You?” quiz (h/t Becky Graebner). Technically I fall into David Swindle’s Millennial-X’er Blend generation, but according to the Pew Center, I’m a Baby Boomer verging on Generation X.
No wonder I tend to gravitate towards my elders, especially when it comes to entertainment. Of course, being Jewish, I blame it all on my Mother. At 7 our first video rental was the Amy Irving film Crossing Delancey. Years later I married a good Jewish boy with curly hair and New York roots, and I still have a thing for Peter Riegert. Unlike fellow high schoolers obsessed with Ross and Rachel, my teen years were defined by Rupert Holmes‘s much under noticed classic Remember WENN, a dramedy set at a Pittsburgh radio station in the days before World War II. I scoffed at fellow film students in college who balked at the idea of watching anything in black and white. The other day, when I found out that Jason Alexander would be performing live in my neck of the woods, I scrambled online to get tickets. I am a middle-aged woman stuck in a Gen X/Millennial body. How did this happen?