I am an international development consultant with over 25 years’ experience. I specialise in media, health communications, development strategies, project management and publishing. I have led high-profile projects in Asia, Canada and the UK. This work has included a number of groundbreaking, award-winning new media projects.
United Nations Global Marketplace (ungm.org) Vendor.
While many designers are telling us to don platform shoes and love beads, the man behind London-based Hi-Tek watches is looking even further back in time – drawing his inspiration from classic visions of the future.
Hi-Tek’s stainless steel timepieces bring to mind early futuristic films such as Lang’s Metropolis and Chaplin’s Modern Times with their grotesque exaggerations of modern machinery. That era’s confusion, fear, or simple wonderment at new technology influenced everything from toasters to steam trains.
For the equally economically and technologically turbulent ‘90s, Hi-Tek designer Alexander has captured this sense of techno-wonder with watches, sunglasses, and other hip accessories. One watch looks as if a Cuisinart hit it, leaving gears strewn across the face. Another has a retractable lid like an astronomer’s observatory. Yet another tells time with the blinker of a radar screen. Despite their made-exclusively-for-James-Bond appearance, all cost less than $190. Available at Possessions in Montreal, Body Body in Toronto, and D and R in Vancouver.
It was the decade of the happy face, bell-bottoms, avocado fridges, disco and the Bay City Rollers; in short, the 70s was a pimple on the ass of history, better evaporated in a pot haze on a waterbed. Not so says 70s-obsessed author Pagan Kennedy, who believes the much-maligned decade is the victim of a bum rap perpetuated by the idolization of the 60s.
Kennedy says the 70s saw all the radical ideas and culture of the 60s go mainstream and mutate in a way the hippies couldn’t imagine.
Social relations and culture were profoundly reshaped during this decade as the non-traditional family took form, women flooded the workplace and unions became rich monoliths.
The social turmoil spawned blue collar red-necks with Confederate flags customizing fuck trucks – vans complete with waterbed, eight-track stereo, bong and sleazy airbrushed exteriors of naked women – to cruise the nation’s highways enjoying the liberal sexual values while keeping conservative political views. Sexual liberation for these clowns consisted of bumper stickers saying “Ass, gas or grass – nobody rides for free!”. Kennedy remembers it all too well.
“This was the midst of the energy crisis, so big cars that wasted a lot of gas were really cool,” she says. “I guess it came out of the whole drug culture, sex culture thing. It was like a basement kids have, only it was on wheels – a party on wheels. It’s not just the mattress for the fuck truck, you’re supposed to be doing your bong hits in there – so the police can’t see you.”
Sex holidays
“Our lives are much more constrained than they were in the 70s,” continues Kennedy. “I think the 70s must seem like an exotic time to grow up in. One of my favourite parts in Douglas Coupland’s Generation X is when the characters want to take a sex holiday to 1974.
“There was a lot of obsession in the early 70s with swingers and wife-swapping. It was the one time when suddenly the sexual revolution was kicking in, not just for white, privileged college kids, but for everybody – for the working class. There were discos and orgy clubs. There was Plato’s Retreat in New York City where you would go in and there was an orgy in full progress.”
In music, the 70s rocketed between extremes. There was nauseating soft rock, concept albums and “progressive” rock. There was the outrageous glam, with artists like Slade and Gary Glitter jacked up on elevator shoes in sequin one-piece flare suits. There was disco and punk. But the sickest phenomena says Kennedy was corporate rock.
David Cassidy
“In the 60s, people were just learning how to package rock and make it a big corporate thing. By the 70s they had learned a lot. The Partridge Family was a group that was entirely fabricated. David Cassidy had a bigger fan club than Elvis. This was a guy who didn’t become a rock star until he went on TV. In the 60s, FM was alternative radio – you could play anything. Corporate guys got their hooks into FM by the 70s. They were formatting. It was no longer what the DJ wanted to hear. You were getting playlists. The money came from big rock concerts, so there was a desire to push these mega-groups and superstars.”
Another truly 70s phenomena was TV as social conscience. Before the 70s, TV variety shows focused on pure entertainment. But now writers, directors and producers schooled in the 60s political milieu were in control.
Blaxploitation
“All in the Family, Maude and Good Times were all part of the same world. All in the Family acknowledged the deep rifts in American society – America was at war with itself. Yet it did it in a soft enough way to not offend people.”
US blacks had been ignored until the civil rights struggle of the 1960s woke up a dopey white America. In the 1970s, blacks were being portrayed like never before in the media and popular culture. But all of this awareness took a twisted turn.
“I think what happened among blacks was they saw their leaders either killed or put in jail. And that was devastating. Blacks really turned to electoralism in the 70s. A lot of black people started running for office. While trying to change things from outside the system, they realized the price was too high. A lot of black people were involved in making those blaxploitation movies, but so were a lot of white people. Shaft and Superfly are like the bookends of the genre. They were really made by black filmmakers. But then there were all these ripoff versions starring football players – whitebread ideas of what black culture was like.”
Pagan Kennedy’s latest book, Platforms: A Microwaved Cultural Chronicle of the 1970s, is published by St. Martin’s Press and available in most book shops. She’s got a really cool collection of eight-track tapes and drives a yetch! 1974 Plymouth Valiant.
“Tripping on 70s Culture”: Watch Magazine was published in Toronto, Canada in the 1990s. “The Bi-Weekly Student Perspective on Culture, Issues and Trends.”
Being charged with setting up a high-calibre national medical museum isn’t easy in the best of times. The new Canadian Museum of Health and Medicine’s curator Felicity Pope wants things done right in these recessionary times.
Now housed at The Toronto Hospital (TTH), the museum’s collection was relocated in 1992 after severe water damage, and the unsure future of the Academy of Medicine, Toronto jeopardized the artifacts in their previous location.
Rather than having the valuable collection collect dust, a major project began to create Canada’s first national medical museum. With AMS/Hannah Institute, Academy of Medicine, Toronto and TTH support, Pope is making detailed plans to ensure the museum is an educational success.
“The project is to create a major medical museum in Canada,” says Pope, who is working out of the public relations office at TTH. “I’m in the midst of a planning study and haven’t unpacked the collection yet because the storage rooms aren’t ready. I’m doing a market and visitor analysis to project how many visitors will come to see the collection.”
“We have guiding principles for the museum. We will have a completely new vision and mandate from before, with a new research and exposition policy. With the museum’s name there come many expectations.”
Pope says the museum will need to fundraise from corporations to be viable. And the elaborate plans will help convince potential donors of the museum’s worthiness.
Artifacts also abound at the University of Western Ontario
Medical history students should consider a trip to the Department of History of Medicine at the University of Western Ontario to see another unique collection of artifacts and documents from Canada’s medical past.
Once located in London’s University Hospital, the artifacts are now technically on loan to the university. Hannah Professor Paul Potter recently assumed responsibility for the collection when University Hospital closed the museum.
“The collection has been created over the ages,” says Professor Potter. “The museum started at University Hospital when it was built in the early 1970s. Two rooms were set aside at the hospital for a medical museum – one room was a re-creation of a nineteenth-century doctor’s office with numerous instruments.”
The actual doctor’s office was packed off to the local pioneer village.
“We took the medical instruments and doctors’ ledgers. I took the things that were more interesting from a medical history perspective.”
And what’s there to see? For shock value there are the gruesome instruments of Victorian medicine – bloodletting knives and cups and surgical saws. Also on display is London’s first electro-cardiogram machine and microscopes dating back to the mid-1800s.
For Professor Potter, the collection livens up medical school lectures and provides a valuable research resource at the university.
David South Consulting 
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