Teletubbies

Teletubbies

Teletubbies: The Album

Kid Rhino

People are quick to quick to negate or embrace Teletubbies based on its “weirdness.” With its abstract and simplistic qualities, it’s easy to see a lot of things in Teletubbies. The show is an empty vessel into which almost anyone who watches it can invest their imagination. The fact so many people see Teletubbies as “weird” and are not recognizing an inherent innocence is a sad statement about society as a whole. Fringe groups attempt to politicize Teletubbies as making a statement about sexuality or race. Others see the Teletubbies as something to “trip out” to. (Unfortunately, Teletubbies’ promoters don’t shy away from these aspects.) Why do so many people complicate and corrupt something that could be so doggone pure? Why can’t we simply appreciate things for their simplicity? All I know is that when I watch Teletubbies, in any state of mind, it brings an easy smile to my face. I can’t say the same about most television these days. Teletubbies reflect an amount of thought and imagination absent in most television. Ironically, it is the majority of adult programming which is pretty formulated: sexual and violent payoffs with the occasional sitcom chuckle. Teletubbies may actually be weird, but for the age bracket it is designed for, all television is weird. The difference being that Teletubbies is a tad more comprehensible, and a lot less reprehensible.

The album itself is what Teletubbies fans would expect. The music is as abstract and simple as the visuals and storylines themselves. The trademark banjo, tuba, and “rat-a-tat” snare weaving in and out of calliope-like keyboard tracks, and occasional interactions between the narrator and the Teletubbies themselves. Signature songs “Teletubbies say ‘Eh-oh!” and “Lullaby” highlight what could be a welcome sound to the ears of kids trapped somewhere in all of us. “Eh-frickin’-oh!!!!” Rhino Records, 10635 Santa Monica Blvd., Los Angeles, CA 90025; http://www.rhino.com

Leave a Comment

Your email address will not be published. Required fields are marked with *

Cancel reply

Recently on Ink 19...

  • Christian Scott
    Christian Scott

    Rebel Ruler (Ropeadope / Stretch Music). Review by Bob Pomeroy.

  • Kivanç Sezer
    Kivanç Sezer

    Turkish director Kivanç Sezer’s powerful debut feature, My Father’s Wings, puts the spotlight on the workplace safety crisis that is currently taking place in his homeland. Lily and Generoso Fierro spoke with Sezer at SEEFest 2017 about his film and his need to draw attention to this issue.

  • Temples
    Temples

    Supporting their just-released sophomore record, UK synth-pop poster boys, Temples, attracted an SRO crowd to one of Orlando’s premier nightspots.

  • Rat Film
    Rat Film

    Baltimore. Rats. A match made in Maryland.

  • Bishop Briggs
    Bishop Briggs

    Bishop Briggs brings a stacked bill of up and comers to Orlando for a sold-out party at The Social. Jen Cray joins in the fun.

  • Rumble: The Indians Who Rocked The World
    Rumble: The Indians Who Rocked The World

    There’s more than black music influencing the evolution of Rock and Roll. Native American rhymes and ideas are every bit as significant, once you know to look for them.

  • Keith Morris
    Keith Morris

    Ink 19 slings a few questions to the punk rock pioneer Keith Morris on Trump, Calexit and looking back.

  • Soul Understated
    Soul Understated

    Soul Understated was a swizzle stick of jazz, funk, pop with a dash of Radiohead in the delightful DC cocktail.

  • Anca Miruna Lǎzǎrescu
    Anca Miruna Lǎzǎrescu

    That Trip We Took With Dad is the debut feature by acclaimed Romanian short film director Anca Miruna Lǎzǎrescu. Generoso Fierro sat down with Lǎzǎrescu during SEEFest to discuss the comedy and drama within the adaptation of her deeply personal family story for the screen.

  • Aware
    Aware

    The Book Of Wind (Glacial Movements). Review by Carl F Gauze.

From the Archives