|
|
Post by The Cincinnati Kid on Jan 1, 2019 14:10:28 GMT -5
Many felt The Beach Boys were running on fumes by the time this album was released in 1980. It had no hits, but had some noteworthy tracks, including Goin' On and the title track. Attachments:
|
|
|
|
Post by ian on Jan 3, 2019 10:19:16 GMT -5
The more time goes by the less enamored I am of most of this lp-it commits the unpardonable sin of being boring
|
|
Departed
Former Member
Posts: 0
Likes:
|
Post by Deleted on Jan 6, 2019 23:52:31 GMT -5
I finally caved in to my morbid curiosity and checked this infamous LP out. The only good thing that came out of it...now I can say I've done it. This was not a good listen at all.
This is one of the worst produced albums I've ever heard. It's similar to Brian's solo albums and SIP yet different at the same time. There's a lack of punch or grit, like the album is afraid of being too vulnerable, or afraid of offending anyone. They're supposed to be a rock and roll band, and the songs within are largely attempting to recapture the glory days, yet they're playing 'em like a bunch of old grandpas who've since lost their taste for anything too loud or rebellious.
The first track goes on like 2 minutes longer than it has a right to. The lyrics are repetitive and vacuous.
Oh Darling just sounds uninspired. There's no hook, no catchy beat. It just drones on and on forever, feeling like it lasts 5 minutes more than it actually does.
Some of your Love starts out better but that's not saying much anyway, and it quickly wears out its welcome besides. It's trying to recapture the glory days at the Hop in '62, but the world had long since moved on. Like all the other tracks thus far, the lyrics are repetitive and leave much to be deserved.
Livin' with a Heartache isn't my cup of tea but at least it's different. It feels like a country song, for better worse.
School Days is just embarrassing. Guys, we all know you're not 18~24 anymore. Stop pretending you're still in touch with school life. Start tackling subject matter more appropriate to your own age. This song wants so badly to be a rocker, but the subject matter is so juvenile and the production so sanded down lest it cut itself on any lingering rough edges. It just doesn't work.
Goin' On is the best thus far. My biggest complaint is the vocals. I'm not musically trained nor do I have session notes in front of me. But it sounds like the group as a whole are singing the lead simultaneously and it kind of drowns it out. I hope that makes sense; basically I'd prefer if one guy sung lead and did it well. That 80s sax is pretty lame but luckily it doesn't last long.
Sunshine is alright too. But once more, the vocals just don't sound good. They sound washed out and/or buried too low in the mix. I blame the arrangement and producing this time around.
When Girls Get Together also sounds different, and I appreciate that. (So many of the previous tracks just sound so generic.) That bridge section with the ascending notes was charming. But all that said, this is no masterpiece by any means. It's the most promising track on the album but still required a good bit of work. I'm not a big fan of the assumption that all women talk about is boys either.
Santa Anna Winds also sounds different, which is good. I liked the idea of the spoken word intro but not enough was done with it. It's just like "hey by the way...this thing exists. Okay bye!" I despise harmonicas, and even putting my prejudice aside, I don't think it suited this song's subject matter or reverent tone at all. Besides that, this is one of the better tracks.
Endless Harmony's intro segment is far and away the best thing on the entire album. I didn't want it to end, and I'm glad it wasn't ruined by jumping into another loud, stupid jukebox tune. This song was good, it felt like a spoken word poem put to musical accompaniment. .........And then the second half started. Was it bad? No, but I don't think it fit with what came before either. Thankfully it was short.
Overall, I give it a 4. None of the songs are very good. There were a handful of songs that had potential. Most were just spinning the wheels trying in vain to recapture the 60s again. With some more work and a competent arranger/producer this might have been a good album.
|
|
dumbchops
Dude/Dudette
Posts: 83
Likes: 73 
Favorite Album: Sail On Sailor
|
Post by dumbchops on Jan 7, 2019 0:56:11 GMT -5
I gave it 5 for being a half-good album and the last one by the band to feature "real" sounding instruments for a long time. I think the 2nd side is better than the 1st. I kind of like "Livin' With A Heartache" and "When Girls Get Together" which a lot of fans have no love for. My favorites are "Santa Ana Winds" and "Goin' On". The title track would have sounded a lot better if only Bruce hadn't forgotten what rock music was supposed to be.
Like it or not, you have to give the song "Endless Harmony" some love for inspiring the name of our message board.
|
|
|
|
Post by kds on Jan 7, 2019 13:17:35 GMT -5
4 - It's a pity that this is the final LP to feature all of the original BBs. It's a pretty bland offering, only salvaged by the final two songs. Santa Ana Winds is very good. I like Endless Harmony, but I've always thought it sounded incomplete. Those harmonies come in at the end, promising to take the song to new heights, then....just....disappear, making for an unsatisfying ending to an unsatisfying album.
|
|
Departed
Former Member
Posts: 0
Likes:
|
Post by Deleted on Jan 7, 2019 13:38:38 GMT -5
It's definitely not one of the highlights of their career, but I like KTSA probably more than most. I gave it a 6, for the title track, Oh Darlin', Livin' with a Heartache, Goin' On, Sunshine (yes, I like it!), Santa Ana Winds and Endless Harmony (the second part of it, anyway).
I'm not gonna bash on the rest of it, because it's just the standard issue complaints.
|
|
|
|
Post by Jason (The Real Beach Boy) on Mar 28, 2019 11:40:57 GMT -5
1.5. Good lord, the worst record they ever made. To call it a piece of shit would only scratch the surface. Mediocre-to-bad songwriting, singing, you name it. Only Goin' On really shines. The album cover alone betrays a possible title of "Keepin' the Summer on Life Support."
|
|
Hydra
Kahuna
Posts: 222
Likes: 157
|
Post by Hydra on Apr 24, 2020 11:56:15 GMT -5
Not the best but not the worst, I actually really like a lot of the songs on this album, Keepin The Summer Alive is a fantastic rocker and very underrated, Oh Darlin is OK but I would have preferred if Brian sang it, Some Of Your Love is fun with fantastic harmonies, Livin With A Heartache is a pretty song, School Days is very average, Goin On is a fantastic song and is unfortunate that it was not a hit, Sunshine is OK, When Girls Get Together does not fit on this album and probably not any other Beach Boys album, a terrible terrible song one of the bands worst in my opinion, should have been buried and replaced with a Dennis song that was hanging around, maybe It's Not Too Late. Santa Ana Winds is amazing, great harmonies I am a sucker for amazing harmonies, Endless Harmony is a very dull was to finish the album, although I enjoy the outro
Track Ratings
1. Keepin The Summer Alive 9/10
2. Oh Darling 5/10
3. Some Of Your Love 7/10
4. Livin With A Heartache 7/10
5. School Days 4/10
6. Goin On 9/10
7. Sunshine 5/10
8. When Girls Get Together 1/10
9. Santa Ana Winds 10/10
10. Endless Harmony 4/10
|
|
|
|
Post by Moon Dawg on Aug 22, 2020 10:16:02 GMT -5
It seems I'm one of the few listeners who actually likes "When Girls Get Together." No classic but I dig its whimsical mood. (Retroactive memo to producer Bruce Johnston: There were better outtakes in the archives. Much better.)
In general I'd like to throw out around 3 cuts of this album ("Some of Your Love", "School Day", "to be determined") and replace with "California Feeling" and a couple of BAMBU additions. The resulting LP wouldn't be a masterpiece but it would be fairly decent.
The relatively forward leaning artistic ambitions of LA were thrown aside for a long journey into the netherworld of nostalgia. (And not the progressive nostalgia of say "Disney Girls.")
At one time I considered this better than MIU but I was mistaken.
|
|
|
|
Post by dauber on Sept 9, 2020 13:52:33 GMT -5
In my opinion, Keepin' The Summer Alive is the single most underrated Beach Boys album in the catalog. it's not as bad as people like to say it is; in fact, I find a good portion of it quite enjoyable.
"Keepin' The Summer Alive" -- it's a great rocker with a vibe similar to that of "You Need A Mess Of Help To Stand Alone."
"Oh Darlin'" -- a terribly underrated, beautiful track written by the classic Wilson-Love duo. Carl sings this so beautifully. Only bad thing I can think of about this track is it's right around the time when Mike introduces his new corny "I'm so old and I'm going to joke about it" voice that would be in full bloom in the '90s.
"Some of Your Love" -- Ding dong ding goes the bells....Mike, come back to L.A....whatever. Anyhoo, an extremely dated track. It sounds so on the beach in Florida in the '80s, know what I mean? Bleah.
"Livin' With A Heartache" -- this could be a much better track than it is...but it's repetitive. And long. And it sounds basically like "Don't Pass Me By" as if it were performed on a Casio keyboard. Certainly Carl and Randy Bachman could have come up with better stuff! (How bad are the other Carl Wilson-Randy Bachman tracks that they're still sitting in a vault, but this one was deemed ready for release?)
"School Day" -- Yawn, another cover...but...not a bad one, really.
"Goin' On" -- classic Beach Boys sound. Great track overall, albeit with Mike's corny new voice coming through again. Aaaaand...let's face it: this is The Beach Boys doing Queen.
"Sunshine" -- I didn't used to like this track, but I gave it a chance again lately. Really, it's not bad. Sure, it's a bit repetitive and could use more variety, but it is an interesting listen.
"When Girls Get Together" -- okay, let me get this straight...there's a treasure trove of songs recorded during or near the Sunflower sessions. "Back Home." "California Slide" / "I'm Going Your Way" / "Whatever You Want To Call This Awesome Dennis Tune." "San Miguel." "Lady." "The Sound of Free." Hell, even "Carnival" or freakin' "My Solution"...but they choose to dig up this piece of wombat dung?
"Santa Ana Winds" -- LOOOOOOVE this track, although I much prefer the lyrics from the MIU-era version. Could do without the trademark Jardine voice-over though.
"Endless Harmony" -- okay, so the "Still Crazy After All These Years" half of it is Bruce at his fluffy Bruciest, but what you end up with is a really great track that sums up what [the public's perception of] The Beach Boys was all about. Kind of bittersweet in that it's the last new recording the Beach Boys released that had Dennis, but still glad to have it. (Fun fact: well, actually, this wasn't so fun at the time...but the 1990 -- or was it 1991? -- Caribou CD and cassette reissues had a major mastering error in this track. Imagine playing this on a turntable and shaking the turntable. That's what it sounded like. Someone told me there was a second pressing to correct it, but I somehow doubt it.)
The cover...well...things need to be said. Nobody's instruments are plugged in. And I have a marine biologist friend who can't look at the cover without rolling her eyes (and she's a fan, too) about the penguins cohabitating with the polar bears!
|
|
petsite
Author/Historian/ Researcher 
Posts: 1,964
Likes: 3,215
|
Post by petsite on May 21, 2021 2:00:04 GMT -5
Here is the documentary on the making of the LP.
|
|
|
|
Post by Stephen W. Desper on May 23, 2021 12:18:07 GMT -5
COMMENT to PetSite: I would not say this so-called documentary is about Keepin' the Summer Alive. Even the shots in the control room are from way-earlier times. Brian never came to any sessions at Rumbo. In fact, during the time of the sessions for KTSA, the Beach Boys would not sing together, but would only come to the studio each alone. So all the vocals had to be stacked. Poor Bruce, no matter how much he ask, they would only show up individually. Therefore, Bruce's voice makes up much of the background vocals. And even though Bruce says in the interview that he did not want to over-produce the album, that is what happened. I call it the "multi-track dichotomy syndrome." This album used two Studer 24-track recorders operating in sync -- one machine being the master and the other its slave (those engineering terms) so it took around 20 seconds for the slave machine to sync with the master machine every time you pushed the play (or record) button. That was something we had to get use to -- waiting. Two tracks were used for timing with 46 analog tracks for recording audio. This was more than double the number of tracks here-to-fore available to the producer. As the sessions moved on from day to day and then week to week, it seemed that if an open track was available it had to have something recorded on it. Like, to leave the track empty was a sin. So as production time unfolded, more stuff was added and added until all the tracks were filled with something. I call that "over producing" and only supports the idea that limiting yourself to a set number of tracks for your production, can be a positive influence. Compare four- and eight-track productions of early Beach Boy songs to the later digital unlimited-track offerings. In some ways, the limited track productions seem more real, authentic and organic. Over production can also come in the form of making the production so perfect, by doing take after take, that the soul of the song is lost in the redundancy. Brian was keen to this and never liked endlessly punching-in to correct every nuance never noticed by most people. Even it there was a minor error in the take, Brian would rather keep that take then risk losing the freshness for the sake of perfection. Such was not the case for KTSA -- in my opinion.
I think in judging this album, take into consideration that it was a contractual requirement to make it -- no one wanted the producer job (so Bruce volunteered) -- and no one was really into the recording or studio sessions in a big way. Even Dragon, who owned the studio complex, showed up for very few sessions . . . his lack of interest a reflection of the overall atmosphere enveloping the project. Bruce had many obstacles to overcome in his job, the result is, I think, a tribute to his talent as a producer/singer/arranger considering some songs are rather good. Not all, but everyone has their favorites. ~swd
|
|
petsite
Author/Historian/ Researcher
Posts: 1,964
Likes: 3,215
|
Post by petsite on May 24, 2021 6:24:52 GMT -5
COMMENT to PetSite: I would not say this so-called documentary is about Keepin' the Summer Alive. Even the shots in the control room are from way-earlier times. Brian never came to any sessions at Rumbo. In fact, during the time of the sessions for KTSA, the Beach Boys would not sing together, but would only come to the studio each alone. So all the vocals had to be stacked. Poor Bruce, no matter how much he ask, they would only show up individually. Therefore, Bruce's voice makes up much of the background vocals. And even though Bruce says in the interview that he did not want to over-produce the album, that is what happened. I call it the "multi-track dichotomy syndrome." This album used two Studer 24-track recorders operating in sync -- one machine being the master and the other its slave (those engineering terms) so it took around 20 seconds for the slave machine to sync with the master machine every time you pushed the play (or record) button. That was something we had to get use to -- waiting. Two tracks were used for timing with 46 analog tracks for recording audio. This was more than double the number of tracks here-to-fore available to the producer. As the sessions moved on from day to day and then week to week, it seemed that if an open track was available it had to have something recorded on it. Like, to leave the track empty was a sin. So as production time unfolded, more stuff was added and added until all the tracks were filled with something. I call that "over producing" and only supports the idea that limiting yourself to a set number of tracks for your production, can be a positive influence. Compare four- and eight-track productions of early Beach Boy songs to the later digital unlimited-track offerings. In some ways, the limited track productions seem more real, authentic and organic. Over production can also come in the form of making the production so perfect, by doing take after take, that the soul of the song is lost in the redundancy. Brian was keen to this and never liked endlessly punching-in to correct every nuance never noticed by most people. Even it there was a minor error in the take, Brian would rather keep that take then risk losing the freshness for the sake of perfection. Such was not the case for KTSA -- in my opinion.
I think in judging this album, take into consideration that it was a contractual requirement to make it -- no one wanted the producer job (so Bruce volunteered) -- and no one was really into the recording or studio sessions in a big way. Even Dragon, who owned the studio complex, showed up for very few sessions . . . his lack of interest a reflection of the overall atmosphere enveloping the project. Bruce had many obstacles to overcome in his job, the result is, I think, a tribute to his talent as a producer/singer/arranger considering some songs are rather good. Not all, but everyone has their favorites. ~swd SWD-I would agree that the term DOCUMENTARY was used loosely. Thanks as ever for the info. I remember when I heard you were working on this project back in the day, I was like FINALLY! Someone who could help the situation! That album was so chaotic. I remember Bruce doing an interview with Roger Scott at Kendun while you were in the control room doing the final tweaking on the album. He kept referencing you being there. It was a nice acknowledgement.
As a side note, when I saw the above show about 2 months after the release of the LP and heard GOIN' TO THE BEACH I was saying how the hell do you leave a song like that off the LP. Once it was released in 2014 on MADE IN CALIFORNIA, it struck me again how the group always seemed to throw away such great tunes! |
|
|
|
Post by lonelysummer on May 24, 2021 16:29:36 GMT -5
Not once in that show do they address the absence of Dennis.
I've read that this was the pilot for a tv series. Were there other shows recorded?
|
|
|
|
Post by Stephen W. Desper on May 31, 2021 10:05:40 GMT -5
COMMENT to Petesite: A few days ago I listened to two downloaded tracks, one regular and one high-resolution. Neither one impressed me with the mastering. Way too much compression used as well as some strange mid-range EQ. I was very disappointed. I don't remember the LP pumping like the digital downloads. Unfortunately my turntable is down for a system change, but when up again I'll revisit for a possible study-video, including a more sane and musical mastering of same. ~swd
|
|
petsite
Author/Historian/ Researcher
Posts: 1,964
Likes: 3,215
|
Post by petsite on Jun 1, 2021 15:06:36 GMT -5
COMMENT to Petesite: A few days ago I listened to two downloaded tracks, one regular and one high-resolution. Neither one impressed me with the mastering. Way too much compression used as well as some strange mid-range EQ. I was very disappointed. I don't remember the LP pumping like the digital downloads. Unfortunately my turntable is down for a system change, but when up again I'll revisit for a possible study-video, including a more sane and musical mastering of same. ~swd Oh wow, that would be awesome. Your study videos are like stepping inside the studio with the guys. |
|
|
|
Post by Awesoman on Jun 1, 2022 7:54:52 GMT -5
It's definitely a lower-tier album from them as the whole thing sounds tired. That said, I agree with the consensus that it isn't as bad as it's made out to be. The title track song Carl wrote with Randy Bachman featuring Joe Walsh on guitar is crowd-pleasing fun. And the Queen-like "Goin' On" is one of the group's best latter-day songs. Then you have passable guilty pleasures such as "Some of Your Love", "Sunshine" and "Livin' With a Heartache". The closer "Endless Harmony" is a bit too schmaltzy for me but the last part of it has nice group harmonies. The rest of the album is forgettable.
I still contest that if you made an album only with the best songs from this one and 𝐿.𝐴. (𝐿𝑖𝑔ℎ𝑡 𝐴𝑙𝑏𝑢𝑚), you'd have a pretty "good enough" record from the band.
|
|
|
|
Post by boogieboarder on Jun 5, 2022 9:04:36 GMT -5
My problem with this album is the lyrics. Have they forgotten how to write clever lyrics? Theres nothing clever here. It sounds like older men stalking high school girls. Has there ever been a worse line in a song other than this one?
To love and to be loved is so inspiring
And that's why every lover's so desiring
”Desiring” is a verb, and cannot be used as an adjective. Not to mention the music is missing a syllable, causing the word to be mispronounced while singing it. Come on!
And trying to make a dry wind weather condition (which the singer had to explain) into a metaphor for … what? I don’t know.
I will prevail
I will not fail
To bring life into humanity
Some of Your Love
You gotta see my favorite little acrobat
She really got her every little move down pat
She's got my vote for number one in the class
I couldn't help but try to make a forward pass
Oh my God!
|
|
|
|
Post by drbeachboy (Dirk) on Jun 5, 2022 9:58:39 GMT -5
My problem with this album is the lyrics. Have they forgotten how to write clever lyrics? Theres nothing clever here. It sounds like older men stalking high school girls. Has there ever been a worse line in a song other than this one? To love and to be loved is so inspiring And that's why every lover's so desiring ”Desiring” is a verb, and cannot be used as an adjective. Not to mention the music is missing a syllable, causing the word to be mispronounced while singing it. Come on! And trying to make a dry wind weather condition (which the singer had to explain) into a metaphor for … what? I don’t know. I will prevail I will not fail To bring life into humanity Some of Your Love You gotta see my favorite little acrobat She really got her every little move down pat She's got my vote for number one in the class I couldn't help but try to make a forward pass Oh my God! Both Oh Darlin’ & Some of Your Love have great (Only Brian Could Write) middle sections that forgives any other shortcomings in the two songs. 😁 |
|
|
|
Post by Awesoman on Jun 6, 2022 7:38:27 GMT -5
My problem with this album is the lyrics. Have they forgotten how to write clever lyrics? Theres nothing clever here. It sounds like older men stalking high school girls. Has there ever been a worse line in a song other than this one? To love and to be loved is so inspiring And that's why every lover's so desiring ”Desiring” is a verb, and cannot be used as an adjective. Not to mention the music is missing a syllable, causing the word to be mispronounced while singing it. Come on! And trying to make a dry wind weather condition (which the singer had to explain) into a metaphor for … what? I don’t know. I will prevail I will not fail To bring life into humanity Some of Your Love You gotta see my favorite little acrobat She really got her every little move down pat She's got my vote for number one in the class I couldn't help but try to make a forward pass Oh my God! Yeah in the later years their lyrics really started getting noticeably more sophomoric. This particular album is no different. Ironically even though their 𝐿𝑜𝑣𝑒 𝑌𝑜𝑢 album received a good bit of critical praise, it probably possesses some of the most banal lyrics Brian ever wrote. But I mean with only a few notable exceptions, were the Beach Boys ever really known for deep, compelling lyrics? Outside of 𝑃𝑒𝑡 𝑆𝑜𝑢𝑛𝑑𝑠 and 𝑆𝑀𝑖𝐿𝐸 I can't think of too many songs where the lyrics seemed to get overtly complex. Songs like "The Warmth of the Sun" and "'Til I Die" come to mind but I don't think lyrics were ever really the selling point for this group. And that's not really a knock on them. |
|
|
|
Post by boogieboarder on Jun 6, 2022 9:20:58 GMT -5
And if “When Girls Get Together” wasn’t ridiculously sexist when it was recorded in 1969, it sure was by the time they exhumed it in 1980.
|
|
|
|
Post by filledeplage on Jun 6, 2022 9:28:21 GMT -5
And if “When Girls Get Together” wasn’t ridiculously sexist when it was recorded in 1969, it sure was by the time they exhumed it in 1980. If you look at The Godfather movies you will see how there was an almost cultural sphere where the women were chaperoning Michael Corleone. It was a women’s cultural sphere as I look at it. You are getting a look in the keyhole of that culture. It is not different from The Art of Courtly Love by Andreas Cappelanus in the 12th century. Now everything has to be re-interpreted and cancelled? Sorry. No. And, I agree with you. I’m sure someone or more than one got a doctorate attacking the cultural norms. |
|
|
|
Post by boogieboarder on Jun 6, 2022 10:22:09 GMT -5
And if “When Girls Get Together” wasn’t ridiculously sexist when it was recorded in 1969, it sure was by the time they exhumed it in 1980. If you look at The Godfather movies you will see how there was an almost cultural sphere where the women were chaperoning Michael Corleone. It was a women’s cultural sphere as I look at it. You are getting a look in the keyhole of that culture. It is not different from The Art of Courtly Love by Andreas Cappelanus in the 12th century. Now everything has to be re-interpreted and cancelled? Sorry. No. And, I agree with you. I’m sure someone or more than one got a doctorate attacking the cultural norms. Given that the feminist movement started in The US in at least 1848, and had a second wave of feminism in the 1960s, and that the world’s first women’s college opened in the state of Georgia in 1836, and that by the time of the 1960s there were 230 women’s colleges issuing bachelors and masters degrees, not to mention Ivy League universities that were co-Ed by 1969 including Princeton, Trinity, and Yale. I would respectively point out that I don’t know what women The Beach Boys were hanging around with in 1969, but I was in college then, and subsequently got a job in the Aerospace industry working with some very smart women, and this song never rang true for me at all. But I guess that’s just me. |
|
|
|
Post by filledeplage on Jun 6, 2022 12:02:50 GMT -5
If you look at The Godfather movies you will see how there was an almost cultural sphere where the women were chaperoning Michael Corleone. It was a women’s cultural sphere as I look at it. You are getting a look in the keyhole of that culture. It is not different from The Art of Courtly Love by Andreas Cappelanus in the 12th century. Now everything has to be re-interpreted and cancelled? Sorry. No. And, I agree with you. I’m sure someone or more than one got a doctorate attacking the cultural norms. Given that the feminist movement started in The US in at least 1848, and had a second wave of feminism in the 1960s, and that the world’s first women’s college opened in the state of Georgia in 1836, and that by the time of the 1960s there were 230 women’s colleges issuing bachelors and masters degrees, not to mention Ivy League universities that were co-Ed by 1969 including Princeton, Trinity, and Yale. I would respectively point out that I don’t know what women The Beach Boys were hanging around with in 1969, but I was in college then, and subsequently got a job in the Aerospace industry working with some very smart women, and this song never rang true for me at all. But I guess that’s just me. That is not what I had in mind. And, I would not mess with those older ladies. I almost think they could, at least observationally, recognize from traveling extensively, how women had their own sphere, in the same way, men always have had their own spheres (even now) and the lyrics, to me, represent being the fly-on-the-wall, looking at that sphere. I think it is a stroke of brilliance in a sense, and brave, to at least recognize it. In the film Michael is teaching Apollonia how to drive, giving her American girl practical skills. In that sense he was a feminist. Traditional feminism was about equality and parity as I learned it. |
|
|
|
Post by boogieboarder on Jun 8, 2022 4:51:41 GMT -5
Given that the feminist movement started in The US in at least 1848, and had a second wave of feminism in the 1960s, and that the world’s first women’s college opened in the state of Georgia in 1836, and that by the time of the 1960s there were 230 women’s colleges issuing bachelors and masters degrees, not to mention Ivy League universities that were co-Ed by 1969 including Princeton, Trinity, and Yale. I would respectively point out that I don’t know what women The Beach Boys were hanging around with in 1969, but I was in college then, and subsequently got a job in the Aerospace industry working with some very smart women, and this song never rang true for me at all. But I guess that’s just me. That is not what I had in mind. And, I would not mess with those older ladies. I almost think they could, at least observationally, recognize from traveling extensively, how women had their own sphere, in the same way, men always have had their own spheres (even now) and the lyrics, to me, represent being the fly-on-the-wall, looking at that sphere. I think it is a stroke of brilliance in a sense, and brave, to at least recognize it. In the film Michael is teaching Apollonia how to drive, giving her American girl practical skills. In that sense he was a feminist. Traditional feminism was about equality and parity as I learned it. “The Art of Courtly Love by Andreas Cappelanus in the 12th century.” Perhaps I should have studied literature in college and received a more rounded education than math, science, computers, and music. |
|
