Happy San Jacinto Day!
Music Video of the Day: I’m Broken by Pantera (1994, directed by Wayne Isham)
I’m Broken is one of the best songs ever inspired by back pain. In this case, the pain belonged to Phil Anselmo.
This video was directed by Wayne Isham, who was one of those music video directors who every successful group worked with at least once.
Enjoy!
Late Night Retro Television Review: CHiPs 5.16 “Battle of the Bands”
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983. The entire show is currently streaming on Prime!
This week, it’s a musical conflict!
Episode 5.16 “Battle of the Bands”
(Dir by Leslie H. Martinson, originally aired on January 31st, 1982)
Jon Baker cannot understand the appeal of punk rock. He says that the punk rockers all seem to be suburban kids so why are they so angry? They’re not from “the ghetto,” as Baker puts it.
“Suburbs can be a ghetto too, Jon.” Grossie says.
Grossie, who is definitely my favorite member of the Highway Patrol, explains that he likes to keep up with youth culture and, as a result, he understands the difference between Punk and New Wave. Punk rockers have fans who slam dance while New Wave bands have fans who pogo. Grossie demonstrates how to do each dance while the other members of the Highway Patrol watch. When Getraer demands to know why Grossie is slamming himself against the lockers in the locker room, Grossie proceeds to hop out of the room.
This is all important information for Baker to have because there’s a Battle of the Bands coming up. New Waver Snow Pink (Susan Richardson) is eager to win but her guitars were recently stolen out of her band’s van. Unfortunately, Snow Pink has been targeted by Pain, a punk band that is led by Thrasher (William Forsythe). Thrasher doesn’t care about making good music. All he wants to do is cause trouble!
Now, I will say that Thrasher is kind of intimidating. That’s more due to him being played by a young William Forsythe than anything else. He’s a “punk,” which, in the world of CHiPs, means that he has a mohawk and his two bandmates have shaved heads. (If anything, they look more like Neo-Nazis than punk rockers. Johnny Rotten would have kicked them out of a moving car.) That said, when Thrasher flicks his lighter and talks about trashing the club, you believe that there’s a very good chance that he’ll do just that. Fortunately, the Highway Patrol is there to stop him.
Now, as you probably already guessed, there was no way that CHiPs was going to do a Battle of the Bands episode without giving Ponch a band. Ponch competes and he sings Kool & The Gang’s Celebration. It’s disco vs punk vs new wave! Of course, punk doesn’t really get to compete because the band is arrested. And Ponch really can’t win because then his character would have an excuse to leave the show. So, it’s not a shock when Snow Pink wins the Battle of the Bands.
To be absolutely honest, this episode was surprisingly fun. It was definitely an episode of its era, embracing both music and the moral panic of the 80s. The punks were unconvincing. Snow Pink was actually a pretty good singer. Estrada flashed that blinding grin while singing disco. Baker once again comes close to getting a romantic subplot. Grossie gets a monologue about the ideology of punk rock. What’s not to like? Bury this episode in the ground because it’s a time capsule!
One final note: Baker, at one point, says that Ponch might leave the Highway Patrol to pursue his musical career. It’s impossible not to hear the note of hope in Larry Wilcox’s voice.
Brad recommends THE COPS ARE ROBBERS (1990)!

If you’re looking for a good “dirty cops” movie to pass the time, I ran across an entertaining one today called THE COPS ARE ROBBERS (AKA – GOOD COPS, BAD COPS). It’s currently playing on Amazon Prime and Tubi. The film is a 1990 TV movie based on the real life robbery of the Boston Depositors Trust bank over Memorial Day weekend in 1980 by a group of corrupt cops. I first became aware of the film when I took part in an interview with Robert F. Lyons about his career on the This Week in Charles Bronson podcast. Lyons specifically mentioned this film as containing a role that he really enjoyed.
THE COPS ARE ROBBERS features an incredible cast, and this is what ultimately sets the movie apart for me. The movie opens as top cop Kirkland, played by George Kennedy, assigns Jake Quinn (Ed Asner), to lead a notoriously corrupt law enforcement agency in Massachusetts. No sooner does Quinn take over, when the Boston Depositors Trust is hit over Memorial Day weekend with over $25 million in cash and jewels taken. The crew of criminals includes current cops Jerry Clemente (Ray Sharkey) and Jimmy Donnelly (Steve Railsback), ex-cop Frank Moran (James Keach), and safe expert Benny Brown (Lyons). Over the next 5 years, with the assistance of officers Brill (James Morrison) and Kellogg (Franc Luz), Jake Quinn does every thing he can to bring Clemente and his crew down!
Ed Asner, Ray Sharkey and Robert F. Lyons are the real standouts of the film. Asner brings a toughness and honesty to his role honed by decades of playing such roles. In other words, the part fits him like a glove. Sharkey plays his part as a man who’s so arrogant and corrupt that he doesn’t seem to realize that using his position of trust in the community for his own selfish gain is a problem. He seems to think he deserves whatever he can steal, and it’s fun to see the pressure squeeze in on him as the film moves along. After watching the film, I can see why Lyons enjoyed playing this part, as he is excellent in his role as the safe expert. He is one of the most important parts of the robbery, he doesn’t trust cops, and he eventually gets the opportunity to give them a reason not to trust him. It’s a nice showcase for his talents.
At the end of the day, if you like the cast, enjoy movies based on true stories, or appreciate TV movies from the late 80’s and early 90’s, I definitely think you’ll enjoy THE COPS ARE ROBBERS. Veteran Director Paul Wendkos (CANNON FOR CORDOBA, THE BAD SEED) brings a professional touch to the proceedings, and for me, watching his film was a fun way to spend an evening.
Warrior Strong (2023, directed by Shane Belcourt)
After high school basketball coach Schmidt (Andrew Dice Clay) has a heart attack, one of his former players, Bilal Irving (Jordan Johnson-Hines), returns to Ontario to replace him. Bilal, a pro player who has developed a reputation for being a diva, thinks that it will mean some good publicity for him. Instead, he discovers that coaching a group of scrappy underdogs to the province championship is far more satisfying than being a member of the Timberwolves.
There’s not a sports cliche that goes unused in Warrior Strong. At first, no one gives the team a chance but then the team shows what they can do when they are properly motivated. Bilal stop being selfish but then gets a chance to return to the NBA right before the championship game. The team’s best player quits in disgust and the rest of the players have to prove themselves. Since this is a Canadian film, there’s a lot of political and cultural content stuffed into the plot. A local indigenous woman give the team permission to use the Warriors name. One the team’s stars, Bettina (Macaulee Cassaday), worries about fitting in as a nonbinary person. Some of it feels awkwardly forced into the story. Some of it works. I’ve never been a believer in the idea that “going work” automatically makes a film good or bad. But there are times that the movie feels as if it was written by someone who was given a checklist of issues to include.
Most people who watch this film will probably be watching for Andrew Dice Clay, cast here as a plainspoken coach. Clay is believable in the role, even if he doesn’t really do that much. He plays a decent person who doesn’t curse or recite dirty limericks. Watching films like this, you have to wonder what his career would be like now if he had never been the Diceman.
Retro Television Review: Making It Legal 1.1 “Pilot”
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On this Monday, I will be reviewing Making It Legal, which aired once on ABC in 2007 and then never aired again.
Last Monday, I finished up Miami Vice. For the rest of the week, I was busy. This weekend, I was even busier. That’s a polite way of saying that I haven’t had a chance to settle on a new Monday series. However, I did find a show that only lasted one episode. So, let’s take a quick look at 2007’s Making It Legal.
Episode 1.1 “Pilot”
(Dir by Gary Halvorson, originally aired on January 31st, 2007)
At the high-powered law firm of Kolar, Dalton, Babbit & Leahy, Josh (Scott Wolf) and Julie (Ashley Williams) are the leaders of the Blue Team, one of the firm’s eight litigation groups. Both Josh and Julie are hoping to someday be promoted to a partnership. They’re friends but they also understand that only one of them can become a partner. Josh is a little uptight and tends to push himself and those around him too much. Julie is neurotic in the way that most professional women on network sitcoms in days immediately following Friends were neurotic. One night, after a long day of hard work, Josh and Julie gave in too temptation and made love all over the office. The sitcom picks up the morning after. Josh doesn’t want anyone to find out about their one night stand. Julie agrees and then tells her friend Elise (Ayda Field) who proceeds to tell paralegal Theressa (Kym Whitley)….
Meanwhile, Mr. Kolar (Robert Wagner) has hired Trevor (Ben Savage) and assigned him to work with Josh. Trevor is the son of a legendary attorney and he’s eager to escape from his father’s shadow. He’s neurotic because everyone on this show is neurotic. Josh doesn’t want to work with Trevor and he proceeds to give Trevor a huge amount of files to go through.
Meanwhile, Ethan (Geoffrey Arend), the weird guy of the blue group, continually does bad celebrity impersonations. I mean really, really bad. What makes it even worse is that I don’t think they’re meant to be bad. On a sitcom where every joke is telegraphed and all of the dialogue hits with the subtlety of a sledge hammer, no one mentions that Ethan’s impersonations are bad. There’s no way this show would have passed up the chance to point out that Ethan’s Christopher Walken impersonation sounds nothing like Christopher Walken.
Watching this pilot, it’s easy to see why Making It Legal didn’t become a regular series. The pilot is bad, sluggishly paced and not particularly engaging. Scott Wolf and Ashley Williams have no chemistry. Ayda Field and Kym Whitley are stuck playing characters who have no personality. Geoffrey Arend’s character is a bunch of quirks that add up to nothing. And then you’ve got Ben Savage, who has never been a particularly good actor but who at least knows how to deliver hackneyed sitcom dialogue. Unfortunately, Trevor still isn’t a particularly likable character. At one point, he falls asleep on a couch and misses the start of a very important meeting. Of course, a panicked Trevor runs into the conference room and promptly trips and falls to the floor. My reaction was that Trevor should have been fired on the spot.
The laugh track disagreed with me, though. This pilot has one of the most intrusive laugh tracks that I have ever heard. Every line of dialogue is followed by canned laughter. Whenever anyone steps into a room, we hear laughter. When people leave a room, we hear laughter. Nothing funny has been said. Nothing funny has happened. But if enough laughter is heard on the soundtrack, maybe we can be fooled into thinking something funny has happened.
Probably the only thing that really did work about the pilot was the casting of Robert Wagner. Wagner wanders through the action with a permanent scowl. He doesn’t appear to be in a good mood. It’s hard not to sympathize with him.
Next week, I’ll start reviewing a show that lasted more than one episode!
Patrick Muldoon, RIP
This morning, I was saddened to read about the passing of actor Patrick Muldoon. He died of a heart attack yesterday. He was 57 years old.
Patrick Muldoon will always be remembered by many for playing Jeff, the “frat boy babe stealer” from Saved By The Bell. Personally, I thought Jeff and Kelly made for a cute couple and it always bothered me that the show’s writers suddenly changed Jeff from being a nice guy to being a cheater just so Kelly and Zack could (eventually) get back together. Supposedly, years after the show aired, Muldoon still had strangers yelling at him on the street for breaking up Kelly and Zack. I felt bad for him reading that. The man was an actor and he did a good job.
Muldoon went on to play an important supporting role in Starship Troopers, making him the second Saved By The Bell actor to appear in a Paul Verhoeven film. (Unlike Elizabeth Berkley, Muldoon at least seemed to understand that he was appearing in a satire.) He also appeared in a countless number of Lifetime films, occasionally sharing the screen with Starship Troopers co-star, Casper Van Dien. Muldoon was also the first actor to play Austin Reed on Days of Our Lives.
Here he is in Starship Troopers, getting into a memorable fight with Casper Van Dien.
Song of the Day: Sharp Dressed Man (by ZZ Top)

When I first heard Sharp Dressed Man and saw the video, I knew there was real wisdom in not looking like a slob. ZZ Top basically lays it out in the coolest way possible: looking sharp isn’t about vanity, it’s about presence. That opening riff alone feels like a wake-up call—like, hey, maybe ditch the wrinkled shirt and step into something that actually fits. It’s not preachy, it’s just smooth persuasion backed by undeniable groove.
The whole track just struts with confidence. Billy Gibbons’ guitar tone is razor-clean, every note hitting like it’s been polished before being sent out into the world. Then the solo kicks in around 1:30, and that’s where everything locks into place. Instead of going for the harder, heavier rock sound that dominated the ’70s and ’80s, Gibbons leans into the song’s bluesy DNA, keeping it tight, expressive, and full of swagger. It’s not some over-the-top shred fest—it’s controlled, stylish, and full of attitude, exactly like the kind of guy the song is talking about.
What makes the song stick is how simple the message is. You don’t need a complete lifestyle overhaul—you just need to care a little. Clean shoes, a pressed shirt, maybe a jacket that actually fits. ZZ Top turns basic effort into a full-on identity upgrade. Suddenly, getting dressed isn’t a chore, it’s a move. And once you feel that shift, it’s hard to go back.
That’s why Sharp Dressed Man feels timeless. It’s more than just a blues-rock hit—it’s like a three-minute style intervention for guys who didn’t know they needed one. It may have helped men of all ages figure out how to dress well, but don’t go calling it “becoming metrosexual”—this is ZZ Top, not a spa day. And sure, being sharp dressed gets you most of the way there, but rolling up in a customized candy-apple red ’33 Ford three-window coupe doesn’t exactly hurt the overall look either. Style matters, but style with attitude—and maybe a little horsepower—is what really seals it.
And if you’re gonna get pulled over because Deep Purple’s Highway Star made you push the speedometer a little too far, you might as well be sharp dressed when you get your speeding ticket—I say that from experience, having been pulled over not in a ’33 Ford coupe but in a maroon 1991 Mitsubishi Galant while sporting a rented long-tail tuxedo… but hey, close enough.
Sharp Dressed Man
Ah
Yeah
Ow
Clean shirt, new shoes
And I don’t know where I am goin’ to
Silk suit, black tie (black tie)
I don’t need a reason why
They come runnin’ just as fast as they can
‘Cause every girl crazy ’bout a sharp dressed man
Gold watch, diamond ring
I ain’t missin’ not a single thing
Cufflinks, stick pin
When I step out, I’m gonna do you in
They come runnin’ just as fast as they can
‘Cause every girl crazy ’bout a sharp dressed man (uh huh)
Uh huh
(guitar solo @1:30)
Top coat, top hat
But I don’t worry ’cause my wallet’s fat
Black shades, white gloves
Lookin’ sharp, lookin’ for love
They come runnin’ just as fast as they can
‘Cause every girl crazy ’bout a sharp dressed man
(Oh-huh, you can’t lose with the dress I use)
(That’s right, real fine)
Great Guitar Solos Series
- Master of Puppets (by Metallica)
- Free Bird (by Lynyrd Skynyrd)
- Hotel California (by The Eagles)
- Stairway to Heaven (by Led Zeppelin)
- Texas Flood (by Stevie Ray Vaughan)
- Comfortably Numb (by Pink Floyd)
- Powerslave (by Iron Maiden)
- Fade to Black (by Metallica)
- Bohemian Rhapsody (by Queen)
- Sweet Child o’ Mine (Guns N’ Roses)
- Mr. Crowley (by Ozzy Osbourne)
- Rainbow in the Dark (by Dio)
- Róisín Dubh (by Thin Lizzy)
- Rock You Like A Hurricane (by Scorpions)
- Whipping Post (by Allman Brothers Band)
- Carry On Wayward Son (by Kansas)
- War Pigs (by Black Sabbath)
- Since I’ve Been Loving You (by Led Zeppelin)
- Satch Boogie (by Joe Satriani)
- Rambin’ Man (by The Allman Brothers Band)
- Sympathy for the Devil (by The Rolling Stones)
- Little Wing (by Jimi Hendrix)
- While My Guitar Gently Weeps (by the Beatles)
- The Rocker (by Thin Lizzy)
- Bulls on Parade (by Rage Against the Machine)
- Eruption (by Van Halen)
- Killer Queen (by Queen)
- Something (by The Beatles)
- Maggot Brain (by Funkadelic)
- Cliffs of Dover (by Eric Johnson)
- Black Magic Woman (by Carlos Santana)
- Layla (by Derek & The Dominoes)
- Dazed and Confused (by Led Zeppelin)
- Blue Sky (by The Allman Brothers Band)
- Southern Man (by Neil Young)
- Know Your Enemy (by Rage Against the Machine)
- Highway Star (by Deep Purple)
Join #MondayMania For Wrong Swipe!
Hi, everyone! Tonight, on twitter, I will be hosting one of my favorite films for #MondayMania! Join us for 2016’s Wrong Swipe!
You can find the movie on Prime and Tubi and then you can join us on twitter at 9 pm central time! (That’s 10 pm for you folks on the East Coast.) See you then!
Scenes that I Love: Edie Sedgwick In Vinyl
Today’s scene that I love comes to use from Andy Warhol’s 1965 film, Vinyl!
In this scene below, Gerard Malanga and Edie Sedgwick dance to Nowhere to Run by Martha and The Vandellas. Malanga is playing an out-of-control juvenile delinquent. Edie is playing …. well, Edie is basically playing herself. No one smoked a cigarette with as much style as Edie Sedgwick.



