There was a lot of hullabaloo and fireworks and shiny objects.
And I couldn’t help but think that Maroon 5 is Collective Soul for this era.
(which isn’t exactly a bad thing)
Then, Kid Rock appeared and I decided to surf and find something interesting to kill some time until – you know – the actual game.
I hit on Batman Begins, got sucked into it, and missed the kickoff and first handful of plays.
Even as I watched Aaron Rodgers carve up an overmatched Saints secondary, the pre-game bombast lingered in my head. I thought of a more simple time when a stellar match-up involving two championship-caliber teams didn’t need The Black Eyed Peas or Daughtry to goose the drama.
Instead, the only entertainment concession made to get my mother and/or twelve-year old girls to watch was halftime and Up With People.
Up With People…
Was it a cult?
Were spaceships and/or Jesus involved?
Were they hippies that had been caught, removed from their native habitats, scrubbed, sanitized, and taught to dance?
My memories of the troupe are fond, though, as it seemed that they performed at several Super Bowls in the late ’70s/early ’80s when I, not quite a teenager, got to watch the Pittsburgh Steelers almost annually in the title game.
It was hardly lost on me that Up With People featured more than a few fetching, young females gyrating through choreographed routines who could have – only a few years earlier – been cheerleaders from the high school I’d soon be attending.
In fact, a girl that had been a cheerleader at our small town’s high school had gone on to be a member of the Up With People cast performing on the television. Deb had also once been a babysitter for me and my brother.
We certainly didn’t see Deb amongst the throng of performers nor did we see Glenn Close, who, in her pre-bunny boiling life, was also apparently a member of Up With People.
But we also didn’t have to sit through yet another performance by The Black Eyed Peas and Let’s Get It Started.
Here are four songs about people…
Ziggy Marley & The Melody Makers – Tomorrow People
from Conscious Party
Conscious Party, the third album by Ziggy and several siblings, was released in the spring of 1988 as my sophomore year of college was ending. That summer was the first one which I wouldn’t return home as I was taking classes and working in a record store.
Produced by Talking Heads’ rhythm section Chris Frantz and Tina Weymouth, Conscious Party was perfect to put on and groove to for forty minutes or so during lazy summer days at the store. The stand-out track was the breezy Tomorrow People which managed to reach the Top 40 in the States, something that their iconic father was never able tp accomplish.
Pulp – Common People
from Different Class
I discovered Pulp from reading British music magazines in the mid-’90s and, though the band never really broke through in the States, I became a fan when I snagged a promo of His ‘n’ Hers in 1994.
A year later, Different Class became an even bigger seller in the UK, making Pulp and lead singer Jarvis Cocker superstars in their homeland. In the US, the group remained a cult act relegated to college and alternative radio or MTV in the middle of the night.
The witty, slightly acerbic Common People – in which Cocker describes a relationship with a female acquaintance from a wealthy background – has an infectiously elastic melody and is impossible to dislodge from the brain.
Sly & The Family Stone- Everyday People
from Greatest Hits
Despite being one of the biggest acts around at the beginning of the ’70s, Sly & The Family Stone had imploded and weren’t heard a lot on radio by the time I started listening as the decade wound down.
Like a lot of the groundbreaking act’s music, Everyday People was a call for unity offered up in fine, funky fashion.
David Bowie – Cat People (Putting Out Fire)
from The Singles: 1969 To 1993
There are two versions of David Bowie’s Cat People which I have. One appeared in the 1982 movie of the same name in which Nastassia Kinski frolics about murdering bunnies (OK, it’s only one rabbit of which she makes a meal). The other version appeared on Bowie’s Let’s Dance, the singer’s commercial comeback album from the following year.
This one is from the former and has a nifty, smoldering intro and was produced, if I recall correctly, by Giorgio Moroder.