A short update on various university-related news in the Orange County Register mentions Dr. Rosanne Welch this week.
(Dr.) Rosanne Welch, adjunct communications lecturer in radio, TV and film, spoke about student-centered pedagogy (teaching theory) and using art in adaptation in education at the Critical Questions in Education conferences presented by the Academy for Educational Studies in San Diego. — “Bravo: University Accomplishments”, Orange County Register, February 24, 2015
You can watch Dr. Welch’s portion of this talk in this YouTube Video
Ok, so what do I say about The Monkees and the Counter Culture? What did they bring to TV? — I love the little pyramid — their anti-ware themes appear in the show. Anti-authority, so those are tied together. Anti-materialism which is very much hippie. It’s about what you do not what own, what you have. Eastern philosophies. The fact that middle America in Kansa kids are going to learn about Buddha while watching this TV show. That’s an amazing concept and then, just in general, their androgynous, hippie clothing. The boys are wearing girls clothes. How is this possible? So all the stuff appears on this TV show. Peter Tork himself — and this is a picture of him at the Monterey Pop Festival with Janis Joplin in the background. They were friends. She was going to appear on the show in the third season. It never got a third season. Peter Tork is famous for saying that The Monkees “probably garnered a large audience for that point than the Beatles did” because of their weekly exposure on television. it was free entertainment for these kids. So they got he point across. One of his points was, these boys, these men from this period had gone through a time when Eisenhower was god. he saved us in World War II. The men in charge were always smart, but then the Vietnam War showed up and the men who used to be, who are now taking over, they didn’t know what was going on and that was a new thought for young Americans. I can’t trust my leaders. They don’t get it. They’re getting involved with something I don’t want to be part of. So that’s a huge new message to put out on television.
View photos from this presentation
Description:
Based on a chapter in my upcoming book The Metatextual Menagerie that was The Monkees, which includes a series of interviews conducted with surviving writers and performers of the 1960s television program, The Monkees I will discuss how the writers and actors used the show as a platform for their own emerging counter culture/anti-war messages.
Worth studying for its craft and place in television history (the show won an Emmy as Best Comedy Of 1967) the program’s true importance may come from its impact on the politics and culture of the era. Considered innocuous by the network, thepress and the parents of the era, the storylines and jokes created by the writers and the actor’s ad-libs brought the emerging counter-culture to the attention of young teens whose parents might not have appreciated the message. Cultural icons such as Timothy Leary recognized the subversive nature of the program, seen through the writing and in choices made about costuming, hair length, musical guests (Frank Zappa, Tim Buckley, Charlie Smalls) and songs performed by the band brought issues of Vietnam, voting and civil rights to the ‘young generation’ for whom the show clearly had ‘somethin’to say.
The 2014 Provost’s Symposium is a forum to learn about each other’s scholarly work, make new friends, renew old acquaintances, and enhance our appreciation of the rich and diverse array of professional endeavors pursued by the faculty at Cal Poly Pomona.
This is a particularly fun quote. Timothy Leary has a long quote I won’t read you about all the things — the silly nonsense going on — and at the very end an actor like Micky Dolenz would look right at the screen — right — so we’re doing this metatextual — I’m “fourth-walling” you — “that’s pretty good talking for a long-haired weirdo, huh, Mr and Mrs. America?” So he was right there telling them we’re laying something out here, but you don’t even notice. Shh. Don’t watch. And so I think that’s really interesting. Also, what’s interesting is look at Mr. Dolenz’ hair. It’s all afro. This was a huge new thing to show on television. First of all, long hair, but this is ethnic hair. This doesn’t belong on TV so, in fact, on the first season they had him iron his hair. They would not allow this vaguely white, although he’s actually Italian and Native American — no. no and afro? No, no, no, that;s not allowed on television. Not until the second season, when they get a little more power that they start looking like they do in normal life.
View photos from this presentation
Description:
Based on a chapter in my upcoming book The Metatextual Menagerie that was The Monkees, which includes a series of interviews conducted with surviving writers and performers of the 1960s television program, The Monkees I will discuss how the writers and actors used the show as a platform for their own emerging counter culture/anti-war messages.
Worth studying for its craft and place in television history (the show won an Emmy as Best Comedy Of 1967) the program’s true importance may come from its impact on the politics and culture of the era. Considered innocuous by the network, thepress and the parents of the era, the storylines and jokes created by the writers and the actor’s ad-libs brought the emerging counter-culture to the attention of young teens whose parents might not have appreciated the message. Cultural icons such as Timothy Leary recognized the subversive nature of the program, seen through the writing and in choices made about costuming, hair length, musical guests (Frank Zappa, Tim Buckley, Charlie Smalls) and songs performed by the band brought issues of Vietnam, voting and civil rights to the ‘young generation’ for whom the show clearly had ‘somethin’to say.
The 2014 Provost’s Symposium is a forum to learn about each other’s scholarly work, make new friends, renew old acquaintances, and enhance our appreciation of the rich and diverse array of professional endeavors pursued by the faculty at Cal Poly Pomona.
In their film, “Head”, they wrote a song that riffs on their opening theme which was “Here we come, walking down the street…” right? They wrote, “hey, Het we’re The Monkees, We’ve said it all before, The money’s in, we;re made of tin, We’re here to give you more!” So, they were admitting their own plasticness and I think that’s their mistake. The fell for what was being said about them and forgot what they, themselves, were contributing. Right? Someone who didn’t miss out on that is Timothy Leary. He was the big, famous, so of hippy doctor and in his book, “Turn on, Tune In and Drop Out” he discussed the importance of The Monkees and this is in their very own time period. Right in the early — late Sixties, excuse me, 67. He’s discussing how important they were. In fact, he says the show is much more than a comedy. It’s all these things together. My favorite one is “A Jolly Buddha Laugh at Hypocrisy.” Which, in fact, is what is going on. These boys are commenting on hypocrisy of the parents of their customers — of their viewers — and they’re doing it right on mainstream American television.
View photos from this presentation
Description:
Based on a chapter in my upcoming book The Metatextual Menagerie that was The Monkees, which includes a series of interviews conducted with surviving writers and performers of the 1960s television program, The Monkees I will discuss how the writers and actors used the show as a platform for their own emerging counter culture/anti-war messages.
Worth studying for its craft and place in television history (the show won an Emmy as Best Comedy Of 1967) the program’s true importance may come from its impact on the politics and culture of the era. Considered innocuous by the network, thepress and the parents of the era, the storylines and jokes created by the writers and the actor’s ad-libs brought the emerging counter-culture to the attention of young teens whose parents might not have appreciated the message. Cultural icons such as Timothy Leary recognized the subversive nature of the program, seen through the writing and in choices made about costuming, hair length, musical guests (Frank Zappa, Tim Buckley, Charlie Smalls) and songs performed by the band brought issues of Vietnam, voting and civil rights to the ‘young generation’ for whom the show clearly had ‘somethin’to say.
The 2014 Provost’s Symposium is a forum to learn about each other’s scholarly work, make new friends, renew old acquaintances, and enhance our appreciation of the rich and diverse array of professional endeavors pursued by the faculty at Cal Poly Pomona.
Using Film Adaptation Techniques to Teach Classic Books with Dr. Rosanne Welch
In this segment from a longer presentation, Dr. Rosanne Welch speaks on “Using Film Adaptation Techniques to Teach Classic Books” at the Critical Questions in Education Conference 2015 held february 16-18 in San Diego, California.
Panel Description:
Using the arts in real student centered teaching: Reawakening a mytho-poetic consciousness in students lost in scientific literalism
Dorthea Kahena Viale, Cal Poly Pomona
Peg Lamphier, Cal Poly Pomona
Andrew Davis, Cal Poly Pomona
Rosanne Welch, Cal Poly Pomona
Using student centered learning strategies to integrate the arts into general education promotes creativity, critical thinking, historical and multicultural consciousness and articulation of values. Join us for practical “how-to” demonstrations.
…And their parents think the program is just a bunch of wild boys goofing around. And they are doing a lot of old vaudevillian stuff, so it seems very tame and very safe. In fact, I think, that Aniko Bodroghkozy mistakes The Monkees for being “plastic hippies” or fake hippies and brining this fake hippie culture to TV, but, in fact, the actual actors and musicians were men of their time. They were “real hippies” and so they were demonstrating their new beliefs in a new culture tot he children. So, I largely disagree with here in my book.
View photos from this presentation
Description:
Based on a chapter in my upcoming book The Metatextual Menagerie that was The Monkees, which includes a series of interviews conducted with surviving writers and performers of the 1960s television program, The Monkees I will discuss how the writers and actors used the show as a platform for their own emerging counter culture/anti-war messages.
Worth studying for its craft and place in television history (the show won an Emmy as Best Comedy Of 1967) the program’s true importance may come from its impact on the politics and culture of the era. Considered innocuous by the network, thepress and the parents of the era, the storylines and jokes created by the writers and the actor’s ad-libs brought the emerging counter-culture to the attention of young teens whose parents might not have appreciated the message. Cultural icons such as Timothy Leary recognized the subversive nature of the program, seen through the writing and in choices made about costuming, hair length, musical guests (Frank Zappa, Tim Buckley, Charlie Smalls) and songs performed by the band brought issues of Vietnam, voting and civil rights to the ‘young generation’ for whom the show clearly had ‘somethin’to say.
The 2014 Provost’s Symposium is a forum to learn about each other’s scholarly work, make new friends, renew old acquaintances, and enhance our appreciation of the rich and diverse array of professional endeavors pursued by the faculty at Cal Poly Pomona.
Welcome everybody! We’re talking today about “Why Monkees matter?” Please notice the spelling. I am not talking about this kind of monkey — that’s in a different class. I’m talking about these Monkees. In case you don’t know who they are, Davie Jones, Micky Dolenz, Peter Tork and Michael Nesmith who, in 1967, their albums outsold The Beatles and The Rolling Stones combined. They had more albums sales due to their exposure on television. So, what I talk about — I’m doing a book right now on them — and so I am talking about what we learned from them. Particularly, I focus on the writers of television programs and authorship. That’s my thing, because we focus on directors as auteurs of film and we don’t realize — or we forget — that writers, are just like the writers of books. A director can’t direct 20 empty pages. Somebody put these thoughts down and what are these thoughts. So, “How the writing staff of The Monkees brought the 1960’s counter-culture to mainstream pre-teen viewers.” These are the children whose older brothers and sisters already love The Beatles and they’re learning about hippy culture from The Beatles, but these kids don’t have access to buying their own albums yet, but they have access to television, because it’s free and they can watch it all the time.
View photos from this presentation
Description:
Based on a chapter in my upcoming book The Metatextual Menagerie that was The Monkees, which includes a series of interviews conducted with surviving writers and performers of the 1960s television program, The Monkees I will discuss how the writers and actors used the show as a platform for their own emerging counter culture/anti-war messages.
Worth studying for its craft and place in television history (the show won an Emmy as Best Comedy Of 1967) the program’s true importance may come from its impact on the politics and culture of the era. Considered innocuous by the network, thepress and the parents of the era, the storylines and jokes created by the writers and the actor’s ad-libs brought the emerging counter-culture to the attention of young teens whose parents might not have appreciated the message. Cultural icons such as Timothy Leary recognized the subversive nature of the program, seen through the writing and in choices made about costuming, hair length, musical guests (Frank Zappa, Tim Buckley, Charlie Smalls) and songs performed by the band brought issues of Vietnam, voting and civil rights to the ‘young generation’ for whom the show clearly had ‘somethin’to say.
The 2014 Provost’s Symposium is a forum to learn about each other’s scholarly work, make new friends, renew old acquaintances, and enhance our appreciation of the rich and diverse array of professional endeavors pursued by the faculty at Cal Poly Pomona.
Dr. Rosanne Welch (http://rosannewelch.com) speaks on “Feminism in the Whoniverse” of Doctor Who, the BBC television program now in its 50th year. She reviews each of the Doctor’s female companions and speaks on how they are represented in the program and how they represented the women of their respective periods.
Transcript:
The Aztec episode, exactly. I love the cover with Barbara in the lovely Aztec headdress. And here, she had to learn a lesson from The Doctor about the fact that she had to allow human sacrifice to continue because that was the culture in which he had travelled and it wasn’t his business to decide that their religious practices were wrong. Because that’s not his business. It’s their business to decide how they feel about it. so, that’s a good example of what she brought to him and to the debates on the show.
Feminism in the Whoniverse was presented at the Cal Poly Pomona University Library where Dr. Welch teaches in the IGE (Interdisciplinary General Education) program.
This is the 4th talk on various aspects of Doctor Who that Dr. Welch has presented. You can find these talks using the links below.
Dr. Rosanne Welch (http://rosannewelch.com) speaks on “Feminism in the Whoniverse” of Doctor Who, the BBC television program now in its 50th year. She reviews each of the Doctor’s female companions and speaks on how they are represented in the program and how they represented the women of their respective periods.
Transcript:
Now the other, early, first partner with the Doctor is Barbara. This is a backstage scene and she is also here with the actress playing Susan. Barbara was a history teacher. Isn’t that perfect? It’s a show about… (inaudible) They’re the coolest people I know.Heavens to Betsys. Just like Clara. So, we’re seeing exactly, there’s a circle we’re going to watch happen here which is very interesting. So, Barbara — and that was the idea, that you’d need a history teacher to interpret the things that The Doctor was seeing, for the audience, but that also meant that a mature woman was traveling with him. She is a little bit of a mother figure for Susan. So she can have conversations about things with her and likewise, Barbara has the intellect to challenge The Doctor. “You can’t behave like that! I won’t allow it. I have some power here. I know where this culture is going in history and you cannot doa thing that will mess them up.” So, she’s a very interesting balance for the Doctor. In the very beginning, we have some very — I would say — feminist females hanging out with The Doctor.
Feminism in the Whoniverse was presented at the Cal Poly Pomona University Library where Dr. Welch teaches in the IGE (Interdisciplinary General Education) program.
This is the 4th talk on various aspects of Doctor Who that Dr. Welch has presented. You can find these talks using the links below.
Why Monkees Matter: How The Writing Staff of The Monkees Brought the 1960s Counter Culture to Mainstream Pre-Teen Viewers
Dr. Rosanne Welch presents Why Monkees Matter: How The Writing Staff of The Monkees Brought the 1960s Counter Culture to Mainstream Pre-Teen Viewers at the 2014 Cal Poly Pomona Provost’s Symposium on Faculty Scholarship (http://www.cpp.edu/~research/)
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View a slide show of al the photos from this presentation
Description:
Based on a chapter in my upcoming book The Metatextual Menagerie that was The Monkees, which includes aseries of interviews conducted with surviving writers and performers of the 1960s television program, The Monkees I willdiscuss how the writers and actors used the show as a platform for their own emerging counter culture/anti-war messages.
Worth studying for its craft and place in television history (the show won an Emmy as Best Comedy Of 1967) the program’strue importance may come from its impact on the politics and culture of the era. Considered innocuous by the network, thepress and the parents of the era, the storylines and jokes created by the writers and the actor’s ad-libs brought theemerging counter-culture to the attention of young teens whose parents might not have appreciated the message. Culturalicons such as Timothy Leary recognized the subversive nature of the program, seen through the writing and in choicesmade about costuming, hair length, musical guests (Frank Zappa, Tim Buckley, Charlie Smalls) and songs performed by theband brought issues of Vietnam, voting and civil rights to the ‘young generation’ for whom the show clearly had ‘somethin’to say.
The 2014 Provost’s Symposium is a forum to learn about each other’s scholarly work, make new friends, renew old acquaintances, and enhance our appreciation of the rich and diverse array of professional endeavors pursued by the faculty at Cal Poly Pomona.
