A DEGREE ABSOLUTE! episode four — Free For All

It's election time in The Village and Number Six is the frontrunner! Eric Portman, this episode's Number Two, greets him thus: "Good morning, good morning! Any complaints?" And of course Six has complaints. He's like Portnoy: famed for his complaints.

Featuring the lovely Rachel Herbert as Number Fifty-Eight, his irrepressibly enthusiastic and enthusiastically unintelligible driver/assistant/etc. Or is she?

This is the episode in which our dearth of a title song with lyrics gets well and truly solved. And in which a voicemail from a listener sparks a discussion of Number Six's... likability.

"A Degree Absolute!"

Music and Lyrics by Chris Klimek

Arranged by Casey Erin Clark and Jonathan Clark

Vocals and Keyboards by Casey Erin Clark

Guitar, Percussion, Mixing by Jonathan Clark

Bass by Marcus Newstead

A DEGREE ABSOLUTE! episode three — A. B. & C.

They grow up fast. A Degree Absolute!, my punctuated and punchcard-driven passion project podcast with Pal-for-Life Glen Weldon, is already three episodes old!

We’re reviewing the episodes in the sequence in which they were aired way back in 1967-8 A.D., which is, as we explain, for the most part not the sequence in which they were made. This week’s episode, “A. B. & C.,” was intended to run late in The Prisoner’s first season, and was ultimately broadcast third. It features Peter Bowles telling Patrick McGoohan “I want you,” a classic John McClane-style air-shaft constitutional, some dodgy fisticuffs, the plot of the 2010 Christopher Nolan film Inception, and a milk-drinking Colin Gordon as a Number Two menaced by a tumescent red phone.

Pop Culture Happy Hour: Our Favorite Concert Films

The Live in New York City film released in 2001 is drawn primarily from this tour-ending July 2000 Madison Square Garden concert, later released (in audio only) in its entirety through Springsteen’s live archive in 2017.

On Feb. 29, 2020, nine days after I had knee surgery, I bolted my despised immobilizer to my left leg and crutched down the 9:30 Club to see the Drive-By Truckers . I’d seen this beloved band play this beloved venue on many, many prior occasions, including on New Year’s Eve at the end of 2011, but never before with only three working limbs at my disposal. The club reserved a couple of barstools for me so I could keep my leg elevated and I had a fine time, not knowing that a global pandemic would extend what I’d expected would be four to six weeks of post-op confinement to 13 months and counting.

We haven’t been able to go to concerts in a year now. So I was glad when the Pop Culture Happy Hour crew invited me to join my longtime pal Stephen Thompson and my new-time pals Cyrena Touros and LaTesha Harris to talk about some of our favorite concert films. (Music documentaries were excluded from consideration.) While there are a dozen or so such films to which I have returned time and again, the indefensible police killings of Breonna Taylor and George Floyd last year and the subsequent Black Lives Matter demonstrations those tragedies gave rise to made the 20-year-old film documenting the tour where Bruce Springsteen pissed off the NYPD with his then-brand-new song “American Skin (41 Shots)” — inspired by the NYPD killing of unarmed delivery man Amadou Diallo in 1999 — once again sadly timely. So I decided to talk about Live in New York City, the film shot during the final two concerts of Bruuuuuuuuuuce’s 1999-2000 reunion tour with The E Street Band — their first time out on the road together in 11 years — which concludes with that haunting, magnificent song.

The reconstituted E Street Band has now been playing together longer than its original incarnation did (circa 1974-88) but in 1999 it was not at all clear that this reunion would be permanent. Bruce had dismissed the E Street Band several years before I was old enough to be going to rock shows. The reunion was a big deal. I saw five shows on that tour. One of them, for which I begged a ride to Philly from a colleague I barely knew and then paid a scalper $240 for a nosebleed ticket, was finally released in sublime quality through the Springsteen’s live archive last summer. It only took 21 years.

I looked up the proper unit of measurement to describe how much Bruuuuuuuuuuce sweats during the performance captured in Live in New York City. Turns out it’s Wilburys. He loses five Wilburys of fluid during the show.

Thanks as always to ace producers Jessica Reedy and Candce Lim for having me on.

A DEGREE ABSOLUTE! episode two — The Chimes of Big Ben

Our abstract-art-and-seafaring-adventure-packed “The Chimes of Big Ben” episode of A Degree Absolute! makes a fine companion on your sunny-day run or walk or bike ride or desperate escape attempt via art-boat!

Number Six attempts to escape The Village with the help of a newcomer named Nadia and a "basically primitive" abstract art project with a hard-to-overlook nautical vibe. He also finds out where The Village is.

Unequivocally.

Indisputably.

Maybe.

Featuring the first of the great Leo McKern's appearances as Number Two!

and now, A DEGREE ABSOLUTE! episode one — Arrival

Creator/star Patrick McGoohan listens to our 2021 podcast about his TV show on a Zune in this 1967 photo.

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Four years and seven score ago, Pal-For-Life Glen Weldon suggested to me we do a podcast deconstructing The Prisoner, Patrick McGoohan’s short-lived, long-tailed allegorical spy-fi TV series that flummoxed and infuriated viewers with its final episode decades before The Sopranos or LOST or Mad Men would do the same. We are neither of us men of haste. We dragged our heels about doing it for so long that its initial news hook — the 50th anniversary of the series, which ran for 17 episodes in England in 1967-8 and in the U.S. the following summer — came and went, only to be replaced by a far more dire one. We’ve all been more or less confined to our homes for a year and counting.

Like the show’s mysterious title character, Number Six, we are all vexed by circumstance and desperate to escape. Unlike Number Six, we are friendly and personable to people of any and all genders. But you’ll be the judge of that, we hope. You’ve heard Glen & me share the studio on a number of episodes of Pop Culture Happy Hour over the years — I’m still not thrilled that he called me “sconce-jawed” that one time on the Man of Steel episode — but this the is first All-New, All-Different, All-Glen, All-Chris podcast, and its senses-shattering first episode is available right now.

Ladies, gentlemen, and nonbinary individuals, I give you… A Degree Absolute!

Pop Culture Happy Hour: "In & Of Itself"

From Isabel Greenberg’s The Encyclopedia of Early Earth (Bond Street Books, 2013)

I was delighted to join my pal Linda Holmes to discuss the just-released-on-Hulu filmed version of illusionist/storyteller/railer-against-the-labeling-of-people Derek DelGaudio’s stage show In & Of Itself, which he performed several hundred times over engagements in Los Angeles and New York circa 2016-2018. You can listen to the episode below. I also recommend Claire McNear’s 2018 profile of DelGaudio in The Ringer.

Naturally, Linda mentioned my onetime employment by the great illusionist Ricky Jay. I wrote about my time in RJ’s employ shortly after he passed away in November 2018.

Pop Culture Happy Hour: "Showgirls" at Twenty-Five

Gina Gershon and Elizabeth Berkley in Showgirls. Gershon’s career survived. (MGM)

I was surprised when I heard from erstwhile Pop Culture Happy Hour producer Jess Reedy that the show had opted to cover Showgirls, Paul Verhoeven’s notorious 1995 riff on A Star Is Born set in the world of Las Vegas dancers. The movie got a lot of attention at the time, because Verhoeven and screenwriter Joe Eszterhas were both coming off of Basic Instinct — controversial, but also a huge hit — and because Verhoeven had promised their new $40-million plus movie would carry an NC-17 rating due to its realistic treatment of the sex trade.

But realism isn’t Verhoeven’s Versace (pronounced Vehrr-SAYce) bag. Showgirls tanked, all but ending the career of former Saved by the Bell star Elizabeth Berkley, whose bizarre performance is one of the features that got the movie pilloried by critics 25 years ago, and is also one of the elements that has driven the movie’s latter-day reclamation as a Rocky Horror Picture Show-style campfest. (That reclamation is the subject of a good documentary called You Don’t Nomi, which in part inspired PCHH’s Showgirls episode. I recommend the doc.)

I was very happy to join in the Showgirls discourse with the brilliant panel of Linda Holmes, Aisha Harris, and Barrie Hardymon a couple of months back. That episode has now posted, just when we need it most. One thing I wish I’d found a place to point out is how Showgirls’ failure (though the movie by most accounts become profitable on home video) sent Verhoeven back to the R-rated sci-fi satire genre for 1997’s Starship Troopers — another movie that underperformed and got lousy reviews at the time (though not from me!) but has, over time, been rightfully recognized as a sort of masterpiece.

FURTHER READING: Seven long years ago I made 1987’s RoboCop — the movie that made Dutch auteur Verhoeven into a bankable Hollywood filmmaker for about a decade — the subject of the first and ,sadly, only installment in a proposed series of posts for what was then called NPR’s Monkey See blog on the subject of remakes. The column didn’t happen, but I certainly didn’t abandon the approach, as my review of 2016’s instantly forgotten Ben-Hur remake shall demonstrate. Maybe I’ll get to revive it if the long-threatened remake of Starship Troopers sever happens.

Talking Yuletunes on All Things Considered

I didn’t put quite as much muscle behind promoting my yulemix this year as I have in years past, but I was very glad to get an invitation to talk to All Things Considered’s Ailsa Chang about some of the selections featured on my 2020 compilation, Four Seasons Total Greetings. The show suggested I choose three new-for-2020 recordings and one of the surprising deep cuts I uncovered in the prior year, which is how I got to talk about The Shades’ recorded-in-1966-but-eerily-topical “Prancer’s Got Some Red Spots” and also sneak a little bit of Canadian country singer Hank Snow’s “Christmas Wants” in at the outro.

We recorded this conversation in mid-December, and there was enough dire news in the days after that that I assumed this piece would be axed. It was my old boyhood pal Chip Goines who notified me, via Twitter, that the piece was airing on Christmas Eve, just as I was loading up to drive to my parents’ house in Virginia (after two weeks in quarantine) for the holiday. The bar for Christmas miracles has rarely been lower, but I’ll take it. God bless us, everyone!