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Like eggs, preferences always get broken in cultural memories because the omelettes are always unique. The most fragile recollections are the ones that maximize moral choices in their narrative interpretation. We’re a lot more angry when crime disrupts choices in the public sphere, and worse when we don’t see justice done (not unlike the current POTUS*).
In the absence of TV programs like House, diagnostic narratives like detective shows even in subtitles can help make the silly season more bearable. Professor T. is a Flemish program that reminds one of Monk, except that one gets an interesting sense of Belgium. He’s so annoying that the French and Germans have done their own versions. The US version most resembling it was called Perception, that got cancelled after three seasons — which may be the limit for such programs.
They reach a limit perhaps because of our inability to deprogram ourselves from reality to accept the narrative premise for the protagonist, especially with their various personality disorders, far too common yet perfect for media genres. In Professor T, Koen De Bouw as Jasper Teerlinck, criminology professor, has OCD among other issues and much like Monk, requires the interlocking narratives of supporting characters to negotiate the world of murder and mayhem. He reminds us that micro-aggression constitutes a constructed culture no different than for example, the culture of deafness.
Having actually worked for at least one cult and knowing members of others, I had forgotten that one never describes groups as behaving like cults without appreciating the post-counterculture irony of followers’ micro-aggressions.
Aside from that irony, that bit of auto-critique allowed me to revisit memories of counterculture history, when some of these bands played for high school dances. Nothing more memorable than breakfast not at Tiffany’s, but at Winterland. Everything did seem possible.
Winterland closed on New Year's Eve 1978 / New Year's Day 1979 with a concert by the Grateful Dead, New Riders of the Purple Sage, and The Blues Brothers. The show lasted for over eight hours, with the Grateful Dead's performance—documented on DVD and CD as The Closing of Winterland—lasting nearly six hours. After the show, the crowd was treated to a hot, buffet-style breakfast. The final show was simulcast on radio station KSAN-FM and also broadcast live on the local PBS TV station KQED.[24]
...the Fillmore Auditorium became the focal point for psychedelic music and the counterculture in general, with such acts as The Grateful Dead, The Steve Miller Band, Jefferson Airplane, Quicksilver Messenger Service, Moby Grape, The Doors, Jimi Hendrix Experience, The Byrds, Big Brother and the Holding Company, Santana, Frank Zappa's The Mothers of Invention, and British acts The Who, Cream, and Pink Floyd all performing at the venue.[4] Besides rock, Graham also featured non-rock acts such as Lenny Bruce, Miles Davis, Rahsaan Roland Kirk, Charles Lloyd, Aretha Franklin, and Otis Redding as well as poetry readings.
The Carousel subsequently operated as the Fillmore West, paralleling Graham's Fillmore East in New York City's East Village. However, both venues were shuttered by Graham in July 1971 as arena bookings on popular music tours became increasingly prevalent.
It always seemed like the movie was a cultural response to the 1968 DNC.
That movie was probably better and more peaceful retaliation than this:
Darn that Peoples War. It is a reminder that some degree of progress has occurred, although next summer in Milwaukee at least won’t have Sheriff Clarke in charge of its jails.
Denver in August 2020 should be interesting
Nothing tastes better after a long night of music than scrambled eggs