Song of the Day: Don’t Your Forget About Me by Simple Minds


Given the fact that today is the birthday of both John Hughes and Molly Ringwald, it seems obvious what today’s song of the day should be.

Hey, hey, hey, hey
Ooh, woah

Won’t you come see about me?
I’ll be alone, dancing, you know it, baby

Tell me your troubles and doubts
Giving everything inside and out and
Love’s strange, so real in the dark
Think of the tender things that we were working on

Slow change may pull us apart
When the light gets into your heart, baby

Don’t you, forget about me
Don’t, don’t, don’t, don’t
Don’t you, forget about me

Will you stand above me?
Look my way, never love me
Rain keeps falling, rain keeps falling
Down, down, down

Will you recognize me?
Call my name or walk on by
Rain keeps falling, rain keeps falling
Down, down, down, down

Hey, hey, hey, hey
Ooh, woah

Don’t you try and pretend
It’s my feeling we’ll win in the end
I won’t harm you or touch your defenses
Vanity and security, ah

Don’t you forget about me
I’ll be alone, dancing, you know it, baby
Going to take you apart
I’ll put us back together at heart, baby

Don’t you, forget about me
Don’t, don’t, don’t, don’t
Don’t you, forget about me

As you walk on by
Will you call my name?
As you walk on by
Will you call my name?
When you walk away

Or will you walk away?
Will you walk on by?
Come on, call my name
Will you call my name?

I say
La, la-la-la-la, la-la-la-la
La-la-la-la-la-la-la-la-la-la
La-la-la-la, la-la-la-la
La-la-la-la-la-la-la-la-la-la
La-la-la-la, la-la-la-la
La-la-la-la-la-la-la-la-la-la
When you walk on by
And you call my name
When you walk on by

Songwriters: Keith Forsey / Steve W. Schiff

Scenes That I Love: The Opening Credits of Saturday Night Fever


Saturday Night Fever (1977, dir. John Badham)

Today is John Travolta’s birthday!

In honor of this day, here’s a scene that I love, the opening credits of Saturday Night Fever.  Watch as John Travolta, playing the role of Tony Manero, walks down the streets of Brooklyn, not letting the fact that he’s carrying two cans of paint do anything to lessen his strut.  Watch as Tony puts a down payment on a pair of shoes!  Thrill as Tony buys two slices of pizza!  Cringe as Tony bothers a woman who wants absolutely nothing to do with him!

This is one of the greatest introductions in film history.  Not only does it set Tony up as an exemplar of cool but it also subverts our expectations by revealing just how little being an exemplar of cool really means.  I always relate to the woman who gets annoyed with Tony and tells him to go away.  I know exactly how she feels, as does any woman who has ever been stopped in the middle of the street by some guy who thinks she has an obligation to talk him.  It doesn’t matter how handsome he is or how much time he obviously spent working on his hair.  He’s still just some guy carrying two buckets of paint and acting like she should be flattered that he spent half a minute staring at her ass before chasing after her.  For all of his carefully constructed attitude, Tony comes across as being a rather ludicrous figure in this introduction.  He carries those cans of paint like he’s going to war and you secretly get the feeling that he knows how silly he looks carrying them but he’s not going to allow anything to get in the way of his strut.  And yet, as ridiculous as Tony sometimes seems and as bad as behavior does get, you can’t help but want the best for him.  That’s the power of Travolta’s performance.  He shows us who Tony could be if he only had the courage.

Happy birthday to John Travolta!  And here is today’s scene that I love:

Music Video of the Day: Ashes to Ashes by David Bowie (2000, dir by ????)


It’s Ash Wednesday!  Sharing this song by David Bowie is a bit of an Ash Wednesday tradition and I’m going to keep it going this year.  (Yes, I understand the song isn’t actually about Ash Wednesday but, for me, it is.)

This is from a 2000 performance in London.

Enjoy!

Late Night Retro Television Review: Pacific Blue 3.15 “Armed and Dangerous”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing Pacific Blue, a cop show that aired from 1996 to 2000 on the USA Network!  It’s currently streaming everywhere, though I’m watching it on Tubi.

Why is everyone bagging on my town?

Episode 3.15 “Armed and Dangerous”

(Dir by Michael Levine, originally aired on January 11th, 1998)

At the local high school, a gun is fired and the bullet grazes the arm of Jessie Palermo (Johna Stewart-Bowden).  Jessie, of course, is Lt. Palermo’s daughter.  Palermo becomes obsessed with finding out who fired the gun and how that person got the gun.  He sends Chris and TC into the school to work undercover and he orders Cory and Victor to find the gun dealer.  As for Palermo himself, he visits the local gun store and gives an impassioned speech in favor of gun control.

Yeeesh, this episode.

I mean, I get it.  Palermo has every right to be upset.  But it’s hard not to notice that he only seems to care whenever a case directly involves either his family or a member of the bike patrol.  Whenever it’s just some citizen with whom he doesn’t have a personal connection, Palermo just kind of zones out.  If some anonymous student had been shot at the school, there’s no way Palermo would have gone to so much trouble.  He would have shrugged it off and hopped on his bicycle.  In fact, I’ve noticed that this is true of all the bike cops.  They take the “one of their own” syndrome to an extreme that is probably not good for the image of law enforcement.  If it’s a friend who needs help, they’ll do everything within their power to help.  They’ll even stop doing their patrols of the boardwalk to make time to help a friend.  If it’s just some random person who gets mugged, they don’t care.  If she doesn’t personally know you, Chris will probably make fun of you for being dumb enough to get mugged in the first place.  These bike cops are the worst.

And here’s another thing.  Why are the bicycle cops investigating this?  Where are the real detectives?  Why are two bicycle cops going undercover as opposed to the cops who have actually been trained to do that sort of work?

This is an episode that deals with a serious subject.  But it’s hard to really pay attention to what it has to say when everyone’s wandering around in those silly bicycle shorts.

Retro Television Review: Saved By The Bell: The New Class 1.5 “Love Is On The Air”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Tuesdays, I will be reviewing Saved By The Bell: The New Class, which ran on NBC from 1993 to 2o00.  The show is currently on Prime.

This week, Scott takes over Bayside Radio.  Hey, Zack did that too!

Episode 1.5 “Love Is On The Air”

(Dir by Don Barnhart, originally aired on October 9th, 1993)

The school board is threatening to close down Bayside’s radio station!

Really?  Didn’t we already do this story on the original Saved By The Bell?  For that matter, wasn’t this exact same plot used on California Dreams, City Guys, Malibu CA, and Hang Time?  Why was Peter Engel so obsessed with high school radio stations?

Scott, of course, talks Mr. Belding into letting him run the station.  Scott wants Lindsay to do an advice show but, right before the show starts, Lindsay has a fight with Tommy D and runs out of the studio.  While Scott is trying to get Lindsay to come back, Weasel goes on the air as “Dr, Love.”  Weasel’s gives relationship advice to anyone who calls in.  No one realizes that they’re actually talking to Weasel.  “Dr. Love” becomes extremely popular while Weasel remains unpopular, despite the fact that he was the most popular kid in school just two episodes ago.

This was a dumb episode.  It perhaps would have been worse if it had aired during the original run of Saved By The Bell, just because Screech would have been Dr. Love.  Isaac Lidsky, who is today a respected businessman, was a considerably better actor than Dustin Diamond and Weasel was easier to take than Screech.  That said, Scott’s sociopathic behavior in this episode was considerably less charming than Zack’s.  Every episode seems to feature Scott trying to break up Lindsay and Tommy D but Lindsay and Tommy seem pretty happy together.  Zack may have competed with Slater for Kelly’s attention but Kelly was single at the time and clearly interested in him.  Lindsay seems to be totally into Tommy.  Scott’s pathological obsession with breaking up a happy couple doesn’t make Scott a particularly likable protagonist

Go back to Valley, Scott!  Bayside doesn’t need you.

Music Video of the Day: Bayou Boy by Graham Barham (2024, dir by ????)


Happy Mardi Gras to all!

What can I say about this video other than it’s definitely authentic?  There’s a lot of people who will be able to relate to every word of this song.  This guy actually reminds me of more than a few of my cousins.  The fact that the song features more than a little Cajun French only contributes to the authenticity.

Late Night Retro Television Review: CHiPs 5.9 “Finders Keepers”


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 is just a mess.

Episode 5.9 “Finders Keepers”

(Dir by John Peyser, originally aired on November 29th, 1981)

Oh, it’s a Steve McLeish episode!

These episodes are fun because they were so obviously written and re-written to try to cover up the fact that Caitlyn Jenner was a terrible actor.  In this episode, we learn that Steve is into rare flowers and that he drives a pretty snazzy convertible.  And yet, despite these character details, Steve still doesn’t really have a personality beyond being kind of twitchy and always hesitating before delivering his lines.  Jenner seemed to be made out of charisma anti-matter and it’s bizarre to see a public figure with absolutely zero screen presence.

This episode is a mess.  Two teens steal a car and come into possession of some stolen money.  Steve searches for the stolen car.  An eccentric bounty hunter (Noble Willingham) drives from Texas to California in a pink Cadillac and gets in everyone’s way as he chases a fugitive.  Oscar nominee Amy Madigan appears as a country singer who would really like to get it on with Baker but Baker always ends up running late.  Ponch makes three brief appearances in this episode.  It’s explained that he’s preparing to testify in a huge trial and that’s why Baker and Steve are temporary partners.  None of the storylines really feel complete or connected.  One gets the feeling that three different scripts were just randomly crammed together.

This episode had two effective car crashes and it was somewhat amusing to watch as Baker always showed up just a minute or two after Amy Madigan stopped singing.  That said, this episode didn’t add up to much.  The only thing that really made it watchable was Jenner’s bizarre performance.

There’s a part of me that kind of hopes that Ponch never comes back!  Of course, if that happened, it would no longer be….

Song of the Day: If You’ll Hold The Ladder (I’ll Climb To The Top), performed by Robert Duvall


Robert Duvall missed out on his chance to play Haven Hamilton in Robert Altman’s Nashville but 8 years later, he gave a performance as a country musician that would him his only Oscar.

This is from 1983’s Tender Mercies.

Robert Duvall, RIP

 

Retro Television Review: Miami Vice 5.15 “Over The Line”


Welcome to 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 Miami Vice, which ran on NBC from 1984 to 1989.  The entire show can be purchased on Prime!

This week, the Vice Squad learns that a man has to know his limitations.

Episode 5.15 “Over The Line”

(Dir by Russ Mayberry, originally aired on April 28th, 1989)

“All of our heroes are dead.”

That line was delivered in 1973’s Magnum Force, by a motorcycle cop-turned-vigilante who justified his murderous actions by claiming that he was a part of the first generation without heroes.  That line could have just as easily been delivered by the cops in this episode of Miami Vice.

Crockett and Tubbs are recruited by Walter Stevens (Thomas Arana), a cop-turned-vigilante who explains to them that, once they join his organization, they can never leave.  Of course, Crockett and Tubbs are only pretending to be vigilantes so that they can take down both the drug dealers and Walter’s organization.  They do this despite the fact that, in many ways, Crockett agrees with Walter.  But when Walter’s methods lead to three good cops getting killed, Crockett realizes that Walter has to be stopped.  Even worse, he discovers that Walter is funding his operation by selling the cocaine that he confiscates from the dealers.

When Crockett pulls his gun on Walter and tells him to surrender, Walter appears to be doing so.  Walter warns Crockett that there’s a lot more to the organization than Crockett realizes.  Suddenly, a police captain named Robert Highsmith (Robert Fields) pops up and shoots Walter.  Crockett says that Walter was surrendering.  Highsmith insists that he saved Crockett’s life.

With the drug dealers and the bad cops taken down, Highsmith takes all the credit.  Highsmith is not only a police captain but he’s also a candidate for Dade County Supervisor.  At a televised “meet-the-candidate” forum, Highsmith brags about how he personally is helping to clean up the city.  Crockett watches and says, “Whatever it takes, right?”

Agck!

Seriously, this episode is cynical even by the standards of Miami Vice.  Legitimate cops like Crockett and Tubbs can’t do their job because of budget cuts.  The vigilante cops are taking down the drug dealers but they’re also stealing and selling cocaine so they’re not actually doing anything to stop the flow of drugs into Miami.   Walter becomes the first Miami Vice bad guy to both show remorse and to willingly surrender but he’s still gunned down by Captain Highsmith who, at the end of the episode, appears poised to be elected to political office.  Miami Vice was often critical of the War on Drugs.  This episode showed why the war couldn’t be won, despite the best efforts of soldiers like Crockett, Tubbs, and Castillo.  Men like Highsmith had to appear to be winning the war so that they could accumulate more power but if they actually did win the war, they would no longer be given carte blanche to do whatever they wanted.

This was a dark but effective episode.  Crockett’s hair has never been longer and he’s never appeared more defeated.