The Seattle Seahawks Have Won Super Bowl LX!


Congratulations to the Seattle Seahawks, for winning Super Bowl LX and helping me to continue my string of incorrect predictions!  At first, I thought this was the first Super Bowl victory for the Seahawks.  Actually, it’s their second.  I’m glad I looked that up before I congratulated them on finally winning their first Lombardi Trophy.

It wasn’t the most exciting Super Bowl that I’ve ever seen but, by the end of it, I definitely understood how the Seahawks made it to the Big Game.  They dominated.  There’s no other way to put it.  I do think that Drake Maye and his Patriots will get another chance to win a Super Bowl, maybe even next year.  But this year, they just didn’t have much of an answer for Seattle’s defense.

As the saying goes, defense wins championships.

 

The Blues Brothers (1980, directed by John Landis)


The Blues Brothers!  They’re on a mission from God.

Jake (John Belushi) and Elwood Blues (Dan Aykroyd) are two Chicago orphans who love the blues and committing crime.  After Jake is paroled from Joliet Prison, he’s picked up by Elwood in an old police car.  Elwood traded the original Bluesmobile for a microphone.  Jake understands, even if he still doesn’t like being seen in a police car.  When they  visit the orphanage where they were raised, Sister Mary Stigmata (Kathleen Freeman) beats them with a ruler and tells them that the orphanage is going to close if she can’t pay a $5,000 tax bill.  Jake and Elwood set out to reform their band, raise $5,000, and save the orphanage.  Jake and Elwood may be two career criminals who never take off their dark glasses but they’re on a mission from God.

Along the way to putting the band together and raising $5,000, Jake and Elwood meet characters played by everyone from James Brown to Ray Charles to Aretha Franklin.  You never know when a big production number might break out.  Jake and Elwood also step on a few toes.  Soon, the Blues Brothers being chased by the police, the national guard, Jake’s parole officer (John Candy), Charles Napier’s country-western band, and a group of Illinois Nazis (led by Henry Gibson).  There’s also a mysterious woman (Carrie Fisher) who wants to kill them.  She has an impressive array of weapons but terrible aim.

The Blues Brothers was the first comedy to be based on a Saturday Night Live bit.  Unlike most other SNL movies, The Blue Brothers develops its plot far beyond what was originally seen on television.  Jake and Elwood get a full backstory and they also get personalities that go beyond the black suits and the dark eyewear. The Blues Brothers features Belushi at his most energetic but it’s also one of the few films to actually know what to do with Dan Aykroyd’s eccentric screen presence.  If Belushi’s Jake is all about earthly pleasures, Aykroyd’s Elwood almost seems like a visitor for another world.  Aykroyd’s performance of the Rawhide theme song is one of the film’s highlight.

The Blues Brothers has its share of funny lines and its famous for the amount of pointless destruction that it manages to fit into its storyline (with the “unnecessary violence” being authorized by the Chicago police to stop the Blues Brothers) but it’s also as surprisingly sincere tribute to the blues.  It’s a movie that can balance Ray Charles shooting at a shoplifter and a massively destructive car chase in a suburban mall with Cab Calloway playfully performing Minnie the Moocher and Aretha Franklin bringing down the house (or diner, as the case may be).  The movie can feature both a jump over an open drawbridge and Steven Spielberg as the clerk at the tax office.  It’s one of the strangest comedies ever made and it features all the excesses that would bring an end to 70s Hollywood but when Jake and Elwood say they’re on a mission from God, you believe them.

 

My 2026 Super Bowl Predictions


What if they played a Super Bowl and no one cared?

Back when I played Madden, the announcers would always say that Super Bowl Sunday was an “unofficial national holiday,” and I usually agreed right before I set the game to rookie mode so that the Ravens could win by a 100 points.  But this year, no one seems to be too excited about the prospect of either the Patriots or the Seahawks winning the big game.  I know that I’m not really enthusiastic about either team.  The NFL doesn’t seem to be excited that either.  Maybe if Taylor Swift was dating a Seahawk, the NFL would care more.

I always make a prediction though and I’m usually wrong.  So, this year:

Patriots 28

Seahawks 7

Why not?  The Patriots winning yet another Super Bowl would be the perfect anticlimax to this season.

Music Video of the Day: Do The Bartman by Bart Simpson (1990, directed by Brad Bird)


Rest in peace, Bryan Loren.  Loren was a recording artist who also wrote songs for everyone from Michael Jackson to Whitney Houston and Sting but a generation will always remember him best for writing Do The Bartman.

And yes, this video was directed by the same Brad Bird who later directed The Incredibles, Ratatouille, and Mission Impossible — Ghost Protocol.

Enjoy!

Music Video of the Day: I Want You By KISS (1976, directed by ????)


This song is from KISS’s fifth studio album, Rock and Roll Over.  This music video is from the age of simple music videos, when the focus was more on the band playing than on trying to tell a story with song.  When its comes to KISS, their simple videos, like this one, are the best.  Also, their videos with the famous KISS makeup are better than the videos they shot during the period of time when they tried to abandon their trademark look.

Enjoy!

Pocket Money (1972, directed by Stuart Rosenberg)


In this slow but amiable film, Paul Newman plays Jim Kane.  Kane is a down-on-his luck cowboy who finds himself in Arizona with nearly a dollar to his name.  Because Kane’s a likable sort, he has people who are willing to help him out but eventually, he finds himself with no choice but to accept a job offer from Stretch Russell (Wayne Rogers) and shady rancher Bill Garrett (Strother Martin).  Kane agrees to Mexico to round up a heard of cattle.  Helping Kane out on the job is an old friend by the name of Leonard (Lee Marvin).

Pocket Money was the last script to be written by Terrence Malick before Malick began his own directing career and the script’s dialogue shows off Malick’s skill at capturing the unique dialect and sound of the Southwest.  It’s an episodic film, where the emphasis is more on the journey than the destination and it could be argued that the movie never really reaches its destination.  The plot is far less important than the way Kane and Leonard talk to each other and view the world around them.  Pocket Money is not for everyone.  It’s the type of movie that will inspire some to complain that nothing really happens.  For fans of Newman and Marvin, though, there’s a lot of enjoyment to be found.  Newman and Marvin reportedly did not get along during shooting but that didn’t do a thing to harm their chemistry in their scenes together.  This film reunites Paul Newman with Cool Hand Luke director Stuart Rosenberg and and also with two co-stars from that film, Strother Martin and Wayne Rogers.  Newman gives a relaxed and likable performance.  Lee Marvin gets to show his skill with comedy.  If you’ve ever wanted to see Lee Marvin ride a horse while wearing a suit, this is the film for you.

Pocket Money was the first film to be produced by First Artists, a production company that was started by Paul Newman, Sidney Poitier, Barbra Streisand, Steve McQueen, and Dustin Hoffman.  The company closed its doors in 1980 but not before giving the world not just this movie but also The Getaway, Straight Time, The Gauntlet, An Enemy of the People (starring Steve McQueen), The Life and Times of Judge Roy Bean, and The Gumball Rally, amongst others.

 

Music Video of the Day: Jamie’s Cryin’ by Van Halen (1978, directed by ????)


Today would have been Eddie Van Halen’s 71st birthday.

Jamie’s Cryin’ first appeared on Van Halen’s debut album and it was the third released single to come from that album.  Though it didn’t chart, it was a favorite of both Eddie Van Halen’s and David Lee Roth’s, with Eddie later saying that Jamie’s Cryin’ should have been Van Halen’s single.

Enjoy!

Music Video of the Day: Lipstick and Leather by Y&T (1986, directed by Michael Miner)


I wanted to share the video for Y&T’s Mean Streak but the person who uploaded the video to YouTube also disabled playback.  Why would anyone do that?  The video wasn’t age-restricted or anything like that.

Instead, here’s the video for another Y&T song, Lipstick and Leather.  This video’s director, Michael Miner, also directed the video for Mean Streak.  In fact, he did more than a few Y&T videos, along with doing videos for Alcatrazz and Marianne Mabile.  Miner also co-wrote the script that would eventually become Robocop.

Y&T stands for Yesterday and Today.  Lars Ulrich has said that seeing an L&T show inspired him to become a musician.

Enjoy!

A Scene That I Love: John Belushi On The Weather


Today would have been the 77th birthday of the great John Belushi.

I was planning on watching and reviewing The Blues Brothers today but that was before the winter storm hit.  Instead, here’s Belushi on Saturday Night Live in 1976, talking about the weather.  John was 25 here and it’s hard to believe that, in just 6 years, he would be gone.

 

The Border Menace (1934, directed by Jack Nelson)


Ranger Bill Williams (Bill Cody) is working undercover.  First, he meets up with and goes to prison with rustler Dragon Morris (Ben Corbett).  After Bill finds out that Dragon’s boss is Chuck Adams (George Chesebro), Bill gets out of prison, tracks down Chuck, and then has a fake posse pursue him in order to prove his bona fides as an outlaw.  Chuck invites Bill to be a member of his gang.  However, Dragon has figured out that Bill’s a lawman and, when he escapes from prison, he tries blow Bill’s cover.

I know I make a lot of excuses for Poverty Row westerns.  I can’t do it with this one.  The Border Menace is really bad.  Produced by Aywon Film, one of the least success of the Poverty Row studios, nothing about The Border Menace works, not even the stock footage of the posse.  This is one slow movie, even with barely enough plot to fill out its 50-minute run time.  The acting is bad all around, except for veteran western baddie George Cheseboro and Bill Cody, who at least is likable as the hero.  Bill has a comedic sidekick but it’s not Fuzzy St. John or Gabby Hayes.  Instead, it’s Jimmy Aubrey as Polecat Pete.  Polecat Pete yells and sings.  I don’t think I’ve ever rooted for the comic relief to get caught in that crossfire before.

Bill Cody starred in a handful of B-westerns in the 30s.  He was a former stuntman and looked convincing on a horse.  He really wasn’t a bad actor but the main reason he found success was because he shared his name with “Wild Bill” Cody.  The two Codys were not related.