Some Things I Liked In 2018


Since I don’t feel comfortable doing a traditional top ten list, I’m just going to list a few things that I liked in 2018.

When it comes to last year’s movies, my two favorite films were both comic book adaptations.  Black Panther and Spider-Man: Into The Spider-Verse both redefined what we traditionally expect from the comic book genre and they worked as both entertainment and as something a little bit deeper.

Among the other films I liked this year, Mission Impossible — Fallout reminded us of just how exciting a good action film can be while Game Night was hands down the best comedy of the year.  Deadpool 2 proved itself to be a worthy sequel while Won’t You Be My Neighbor?, Three Identical Strangers, Free Solo, and Shirkers made this a great year for documentaries.

David Peisner’s Homey Don’t Play That was a fascinating book about the history of In Living Color, examining both the show’s tumultuous history and how it continues to be relevant today.  Also worth reading: Thanks A Lot, Mr. Kibblewhite by Roger Daltrey and Cult City by Daniel J. Flynn.

In a year that seemed to be dominated by adaptations of comic books, it seems appropriate that one of the best comics was about the history of the medium.  Written by Fred Van Lente and illustrated by Ryan Dunlavey and Adam Guzowski, Comics For All was the second installment in their Comic Book History of Comics.  No matter how much you think you may know about comic history, you’ll learn something new from Comics For All.

When it comes to the year’s video games, I’m torn.  Red Dead Redemption II is a totally immersive gaming experience that challenges much of what we’ve come to expect from video games.  On the other hand, Marvel’s Spider-Man is one of the most purely enjoyable games that I’ve ever played.  If I had to pick a best, I’d go with Red Dead Redemption but Spider-Man is the game that I’ll probably end up replaying a month from now.

On television, I continued to enjoy and occasionally be baffled by HBO’s Westworld.  I also enjoyed playing around with Netflix’s Black Mirror: Bandersnatch, an interactive program that introduces you to a likable game designer and then give you the chance to totally mess up his life.

In the States, BBC America televised the the animated restoration of the “lost” Doctor Who serial, Shada.  As an episode of Tom Baker-era Doctor Who, Shada was just as disappointing as many have warned that it would be, an overextended mix of inside jokes about Cambridge.  However, as a piece of Doctor Who history, it was priceless.

Finally, as far as the year in music is concerned, I recommend The Who’s fifth studio album, Who’s Next.  I know Who’s Next came out in 1971 but good music is timeless.

Music Video of the Day: Danger Zone by Kenny Loggins (1986, directed by Tony Scott)


For better or worse, few songs have come to epitomize a decade to the extent that Danger Zone has come to epitomize the 1980s.

The song was originally written by Giorgio Moroder and Tom Whitlock for the Top Gun soundtrack.  When the film’s producers heard the demo (performed by background singer Joe Pizzulo), they knew they wanted the song but they also knew they wanted it to be performed by a big name artist.

The problem was that no one wanted to perform it.

Byran Adams thought that the song and its use in the film would glorify war.  (He wasn’t wrong.)

Corey Hart, best known for Sunglasses at Night, turned down the opportunity because he only wanted to record songs that he had written.

REO Speedwagon (!) declined an offer when they were informed that they wouldn’t be allowed to contribute any other songs to the soundtrack.

Toto came close to recording the song but their lawyers couldn’t come to an agreement with the production’s lawyers.  (Toto’s song, Only You, was also originally written for the film but was rejected in favor of Take My Breath Away.)

In the end, it was Kenny Loggins who finally agreed to perform the song and the rest, as they say, is history.  Not only was the film a huge hit but it spawned one of the best-selling soundtracks of the 1980s.  Fueled by the film’s success, Danger Zone reached the #2 spot on the U.S. Billboard Hot 100.

As for the video, it was directed by Tony Scott (who, of course, also directed Top Gun).  The video mixes footage from the film with shots of Kenny Loggins deep in thought, which makes it appear that Loggins simply can’t stop thinking about the first time that Maverick and Goose met Charlie.  This video has been called “the most effective recruiting poster ever produced.”

For me, though, Danger Zone will always be the song that I used to hear while listening to the classic rock station in Los Santos.

Music Video Of The Day: Elegantly Wasted by INXS (1997, directed by Michael Stern)


The 1990s was a decade when many bands, who otherwise had little in common, were bonded together by a mutual hatred for Oasis.

Originally hailed as being the second coming of the Beatles, Oasis was fronted by two brothers, Liam and Noel Gallagher.  At the height of Oasis’s popularity, the Gallaghers never hesitated to let it be known how little they thought of their musical competition.  At the 1996 Brit Awards, when Noel Gallagher received an award from INXS’s Michael Hutchence, he accepted by saying, “Has-beens should not be presenting awards to gonna-bes.”  Backstage, Hutchence got into a scuffle with the other Gallagher brother, Liam.  Apparently, Liam made some disparaging remarks about Hutchence’s then-girlfriend, Paula Yates.  Hutchence reacted by throwing a fire extinguisher at Liam.

Following the altercation, Hutchence went to the recording studio and added some additional vocals to the chorus of the song that would become the title track to INXS’s upcoming album, Elegantly Wasted.  The original chorus was “I am elegantly wasted.”  Hutchence added, “I am better than Oasis.”  You have to listen carefully for it but it’s definitely there.

(The rest of INXS reportedly didn’t find out about Hutchence’s additions until several months later, when the album was released.)

As for the song itself, depending on which source you consult, it was originally inspired by either a pub crawl with U2’s Bono or by Hutchence’s relationship with Yates.  The video was filmed in Los Angeles, on a set that was made up to resemble an airport.  While the song may not have been as big a hit as the some of INXS’s previous releases (it peaked at 20 in the UK and 48 in Australia), it did reach the number one spot on the Canadian charts.

Sadly, it would also be one of the last INXS single to be released in Michael Hutchence’s lifetime.  Hutchence committed suicide in November of 1997.  He was 37 yeas old.

Music Video of the Day: Rocket by Def Leppard (1988, directed by Nigel Dick)


The seventh and final single to be released off of their album Hysteria, Rocket allowed the members of Def Leppard to acknowledge the music of their youth.  Among others, the song’s lyrics cites The Beatles, The Rolling Stones, David Bowie, T. Rex, and especially Lou Reed’s Satellite of Love.

Directed by Nigel Dick, the video for Rocket features Def Leppard playing in the same warehouse that was used in the video for Women. This time, the band is surrounded by televisions that flash footage from the 70s.  Not only are there the expected clips of Richard Nixon, the Apollo 13 disaster, and Edward Heath but there’s also plenty of footage of various artists performing on Top of the Pops.  Because Def Leppard is an English band, there’s also a good deal of footage of Arsenal winning the 1971 FA Cup Final.  There’s also a very brief shot of the infamous Gary Glitter, who was a British icon at the time this video was released but who, nine years later, would dramatically fall from grace after being convicted on charges of downloading child pornography.  This video was the last to feature lead guitarist Steve Clark, who died from alcohol poisoning in 1991.

Rocket ultimately peaked at number 5 on the U.S. Billboard Hot 100.

 

Music Video of the Day: Right Now by Van Halen (1991, directed by Mark Fenske)


If it seems like Sammy Hagar looks like he was pissed off during the filming of the music video for Van Halen’s Right Now, that’s because he was.  Hagar was firmly opposed to the video’s concept, saying that the MTV audience would be so busy reading the subtitles that they wouldn’t pay attention to the lyrics.  It also didn’t help that, when the video was shot, Hagar was also suffering with pneumonia.  When Hagar slammed the door at the end of the video, that wasn’t acting.

The video was directed by Mark Fenske and produced by Carolyn Beug.  (Ten years after the video was released, Beug was killed in the crash American Airlines Flight 11 on Steptember 11th, 2001.  At the National 9/11 Memorial, Beug is memorialized at the North Pool, on Panel N-1.)  For the shot of the photograph being set on fire, Fenske used an old picture of himself.  As well, Fenske’s mother appears in the video, kissing the camera.

Right Now is probably the best known of the songs to come out of the Van Hagar period.   Despite Hagar’s reservations, the video was one of Van Halen’s most successful, winning the award for video of the year at the MTV Music Video Awards.

Music Video of the Day: Just A Friend by Biz Markie (1989, directed by Lionel C. Martin)


Just A Friend is a song anda video that, for years, has inspired people to ask, “Is Biz Markie okay?  Why is dressed up like Mozart?”

The song’s piano medley, as well as the phrasing of “You got what I need,” is lifted from Freddie’s Scott’s (You) Got What I Need.  Biz Markie tells the story of meeting a girl at a show, being told that the man in her life is “just a friend,” and then later discovering her kissing that same friend.  It’s a universal tale that everyone can relate to.  However, what most people remember about this song isn’t the story of a bad relationship but instead the sound of Biz Markie’s increasingly crazed cry of, “Oh Baby — You!  You got what I need!  But you say he’s just a friend!”

And, of course, Biz Markie wearing a powdered wig.

With the help of this popular music video, Just A Friend proved to be Biz Markie’s biggest hit to date, reaching #9 on the Billboard Hot 100 in 1990.

Happy Festivus!


Today is a Festivus for the rest of us!

Traditionally, this is when I would start the airing of grievances but this is 2018 and I wouldn’t know where to start.  Instead, let us skip straight to the feats of strength and remember, Festivus is not over until you pin a loved one.

Happy Festivus!

Book Review: Thanks A Lot Mr. Kibblewhite: My Story by Roger Daltrey


On March 1st, 1959, a 15 year-old student at Acton County Grammar School brought an air gun to school.  Years later, the student would write about how he and a friend were “in the changing room, mucking about after football,” when someone fired the gun.  The pellet ricocheted off a wall and struck another student in the eye.

The student who brought the air gun was taken down to see Mr. Kibblewhite, the headmaster.  Mr. Kibblewhite announced, “We can’t control you, Daltrey.  You’re out.”  As the now-expelled student left the office, Mr. Kibblewhite added, “You’ll never make anything out of your life, Daltrey.”

Roger Daltrey, of course, went on to become the lead singer of The Who and is considered to be the epitome of a charismatic rock and roll frontman.  As for Mr. Kibblewhite, he went on to lend his name to the title of Daltrey’s autobiography.

As befits someone who, has a reputation for being one of the most down-to-Earth people in rock and roll, Thanks A Lot, Mr. Kibblewhite is a short and straight-forward account of Roger Daltrey’s life, from his youth in war-scarred London to his time as the frontman for one of the loudest bands in rock and roll to his current life as one of rock’s elder statesmen.  If it’s not as salacious as some other rock-and-roll tell-alls, that’s because Daltrey never gave into the excessive behavior that proved to be the downfall of many of his contemporaries (including, of course, his former Who bandmates, Keith Moon and Jon Entwistle).  As Daltrey tells it, he avoided hard drugs to such an extent that he was briefly kicked out of the band for flushing Moon’s stash of pills.

As is true with The Who’s best albums, the heart of Thanks A Lot, Mr. Kibblewhite is found in Daltrey’s close but often difficult collaboration with Pete Townshend.  Even after performing with Townshend for over fifty years, Daltrey still seems to be struggling with how he feels about his legendary bandmate.  Daltrey’s admiration for Townshend’s talent is obvious but he also writes that Townshend could be like “a scorpion with a good heart.”  Daltrey recounts not only the numerous times that Townshend was dismissive of the rest of the band in the press but he also tells the full story of the infamous fist fight in which Daltrey knocked Townshend out with one punch.  And yet, when Townshend is falsely accused of downloading child pornography, Daltrey is just as passionate about explaining how he knew his bandmate was innocent.

Daltrey also writes extensively about Keith Moon.  In Daltrey’s telling, Moon comes across as a unique, one-of-a-kind talent who was ultimately destroyed by his need to keep up with his own wild reputation.  Daltrey is open about often becoming exasperated with Moon but he also writes that, for him, The Who ceased to be The Who after Moon died.  Without Moon, Daltrey writes that The Who’s anthems were “now just songs.”

Thanks A Lot, Mr. Kibblewhite is a short book and Daltrey is such a straight-forward and no frills storyteller that it makes for good airport and airplane reading.  For fans of The Who, this book is essential.

Music Video of the Day: Annie, I’m Not Your Daddy by Kid Creole & The Coconuts (1982, directed by ????)


Today’s music video of the day finds the world’s best-dressed salsa artist in a whole heap of trouble… Why has Kid Creole been kidnapped by a group of New Wave Amazons who are now threatening to hang him in a warehouse?  Their leader is Annie and she wants Kid Creole to admit that he is her father.  The Kid, however, says differently.

Annie, I’m Not Your Daddy is often compared to Michael Jackson’s Billie Jean, though Annie came out a few months before Jackson’s song.  Much like Billie JeanAnnie, I’m Not Your Daddy features its singer denying being the father of a child.  The big difference is that, while Jackson’s song was inspired by a fan who swore that Jackson had fathered her child, Kid Creole has stated that his song is in no way autobiographical.  The lyrics of Annie, I’m Not Your Daddy are also considerably more savage than Billie Jean‘s but, because of the song’s upbeat sound, you don’t really notice until you read them:

They say that all is fair in love and war and child, believe it
When mama stayed in St. Tropez, she had a fall or two
And I’m telling it to you straight
So you don’t have to hear it in another way

Oh Annie
I’m not your daddy
Oh Annie
I’m not your daddy

They say that out of sight is out of mind and child, believe it
Your mama was in search of love, but all she got was used
And I’m telling it to your face
So you don’t have to hear it in another place
Bring it to me gently now
Don’t forget, I’m just a child

Oh Annie
I’m not your daddy (mama’s baby’s papa’s baby)
Oh Annie
I’m not your daddy (mama’s baby’s papa’s baby)

See, if I was in your blood then you wouldn’t be so ugly
Oh!

I don’t wanna, I don’t wanna be a
I don’t wanna, I don’t wanna be a
I don’t wanna, I don’t wanna be a
I don’t wanna, I don’t wanna be a
I don’t wanna, I don’t wanna be a
I don’t wanna, I don’t wanna be a
I don’t wanna, I don’t wanna be a
I don’t wanna, I don’t wanna be a

Yes, I’m telling it to you straight
So you don’t have to hear it in another way
Bring it to me gently now
Don’t forget, I’m just a child

Oh Annie
I’m not your daddy (mama’s baby’s papa’s baby)
Oh Annie
I’m not your daddy (mama’s baby’s papa’s baby)

Kid Creole (real name: Thomas August Darnell Browder) has said that the income royalties off of this song alone are enough for him to live comfortably for the rest of his life.  The third and final single from the album Tropical Gangsters, Annie, I’m Not Your Daddy peaked at number 2 on the UK Singles Chart and it reached number 18 on the U.S. Club Play Chart.

Music Video of The Day: Don’t Stop Believin’ by Journey (1981, directed by ????)


Don’t Stop Believin’ is now probably destined to be forever associated with The Sopranos but the song itself had established itself as a classic long before it was used in the finale of HBO’s famous show about the New Jersey mafia.

In fact, the song means so much to Journey’s Steve Perry that he was hesitant to give HBO permission to use the song until it was explained to him exactly how the song was going to be used and he was assured that it wouldn’t be played over any type of violence.  Other than the members of the cast and the production crew, Steve Perry was one of the few people to know, in advance, how The Sopranos was going to end.

While Perry has said that the majority of the lyrics were inspired by his own early struggles to find success in the music industry, keyboardist Jonathan Cain says that the name was inspired by something that his father told him when Cain was thinking about leaving Hollywood and returning to Chicago.  Cain’s father told him, ‘No, son. Stay the course. We have a vision. It’s gonna happen. Don’t stop believin’.”

As for the video, it was filmed in Houston and features Journey performing the song as a part of their Escape tour.  With the exception of the infamous video for Separate Ways, Journey was known for keeping things simple and straight-forward when it came to their music videos.  This one is no exception.