The Fall
On Monday January 22nd at around 1:30 in the afternoon I had an accident in my backyard. It had snowed the previous weekend leaving about four inches of snow on the frozen ground in Cincinnati Ohio. I was taking my dogs out to go potty when I slipped on the ground on the apex of a hill in our backyard. My body went vertical and I slammed on the ground on my back hard.
Initially everything went fuzzy for a second the sky above me and a branch o could see lost color and went out of focus. Then everything was fuzzy and I felt woozy. Then the scene above me flashed back into focus. I was conscious, could see but was lying flat on my back.
Suddenly I was aware that I could not feel anything below my neck and could not move. It was probably the most terrifying moment of my life. I did not have fall detection on my watch turned on. Technology fail. I immediately began screaming for help. “Please help me. I’ve fallen in my backyard and I am paralyzed. Please someone hear me and call 911.” I then would try and activate SIRI to call 911. It did not comply. So for four minutes I alternated between screaming for help and begging SIRI to activate.
Finally one of my neighbors happened to let her dog out and heard my screams. “Where are you? What happened?” I recognized the neighbor as Patty and began talking to her. “Patty it’s Rich. I’ve fallen and I’m paralyzed please call 911.” I still had my faculties and was able to communicate. Patty asked for my address and was calling EMT. Soon another neighbor, Michelle, was hopping fences and telling me she was coming to help. I warned her of the slippery conditions as she jumped out fence and made her way to me. She’s a nurse. How can she help. I told her I fell and couldn’t move. I think I’m paralyzed. She said she would help me and call 911. I said 911 has been called. She went in my house and got a blanket. Michelle retrieves my phone and calls Rebecca. I tell her I've fallen and cannot move. She's on her way.
After a few minutes I could feel my legs. I moved one. Then the other. “I can move my legs” I sobbed. Michelle said “thats great! Take it easy though.” I continued to use my legs but was aware I could not feel my torso area still. Soon I'm able to lift my shoulders but arms are useless. My fingers are jello. More terror. I keep moving my legs and lifti g my shoulders. I'm so cold. So scared.
Patty, Michelle and my mother in law Linda are now all at my side as we await EMT.
EMT arrived in about 9 minutes. They assess the situation. Where I'm at on the snowy hill is precarious. They make a plan to dig their heels into the snow and through the dirt to secure themselves to get me on a backboard and up the hill. Soon the plan. Is in motion. I'm on the board and up the hill. On the stretcher. In the ambulance.
On the way to the hospital i begin to feel my fingers and can start to move them. A moment of relief.
We arrive at the hospital and the trauma qteam is assembled. They begin assessing me. Rebecca arrives and sees i am moving. I hear the surprise and relief in her voice.
X-ray. CT Scan. MRI. STRESSFUL
Tests revealed an existing condition on my neck and spinal cord that would have required surgery anyway. The fall caused my spincal collumn to squeeze my spinal cord causing a bruise. So surgery. On Friday. Wish me luck.
I Ate The Kroger Cheeseburger Pizza So You Don’t Have To
The other day, I wandered past the Home Chef Cheeseburger Pizza at Kroger. I was intrigued but in a hurry. I thought about the pizza a few times after I first saw it. It wasn’t that I couldn’t get it out of my mind, but I did think about it from time to time.
I found myself at Kroger again and remembered the pie, so I stumbled over to the deli to see if they still had it. And had it, they did—one left. Now, we’ve had these styles of pies before. They’re not super great, but they were certainly acceptable facsimiles of pizza pie.
I had high hopes for this pie. Memories of the excellent BBQ Cheeseburger Pizza from Pizza Hut from the 90s came rushing back. The Home Chef Cheeseburger Pizza from Kroger has “beef patty crumbles, pickles, onion, and tomatoes with a cheesy ketchup and mustard sauce on a wood-fired style crust.” Now, there are some red flags I was willing to ignore here. “cheesy ketchup and mustard sauce” should have been the deal breaker, though. But at $5.99, I was willing to take the chance.
I prepared this pizza in accordance with the stated directions. I preheated the oven to 400 degrees and then baked it for 16 minutes in the pre-heated oven. I waited the recommended two minutes before slicing into six slices.
I noticed as my alarm went off to indicate the pizza had cooked the requisite 16 minutes that I didn’t really smell anything. No fresh baked pizza, no burger goodness. Nothing. Weird. As I opened the oven, I smelled the deliciousness of some oatmeal cookies my wife made yesterday and a faint pickle smell. The pizza looked fine for a $5.99 grocery store pie, I supposed.
I was disappointed at first bite. In fact, for a brief moment, I was terrified I might have COVID as I could not really taste anything. I tried a chip, carrot, and Coke Zero, and they all exploded with flavors that I would expect. Phew. Another bite, nothing. I had a few pickles on the next bite, and they had the briny, tangy flavor I’d expected. As I continued eating this pie, my disappointment grew. Occasionally, I’d get a burst of something that tasted like a cheeseburger. The thin “wood-fired” crust was actually fairly crispy and had a bit of that wood-fired flavor.
I added a little BBQ sauce to the slice to try to liven it up, but the disappointing flavors of the pizza were not greatly improved by this addition. I tried each component on its own. The burger crumbles were not bad. It's a little spicy, actually. Greasy and beefy. The onions were bland. The pickles were bright and tangy. The cheese was mild, with just a bit of a cheddar bite to it. The sauce was a mess. My brain kept trying to insert Big Mac sauce into my thoughts. But ultimately, it was more of a slightly spicy ketchup, if anything.
I don’t know exactly what I was expecting from a $6 Cheeseburger pizza from a grocery store. I guess I was hoping it would be a taste explosion. Something I could try a few times a year to get the best of both worlds in a super cheap lunch or dinner. The bottom line is this pizza was bland, uninspired, and not that great.
🍕out of five.
Mean Girls 2024 Review
Mean Girls (2024) is presented as “A New Twist From Tina Fey,” and that it is. Part remake of the 2004 classic, part movie version of the 2017 Broadway musical Mean Girls is a fun update on the classic teen comedy.
The original Mean Girls, written by Tina Fey and directed by Mark Waters, was an adaptation of the 2002 Rosalind Wiseman novel Queen Bees and Wannabes, making the entire franchise very meta.
I consider the original Mean Girls to be a teen classic—a masterclass of the genre. We made sure our daughter watched it before she began high school. I’ve not seen the musical yet, but I listened to the soundtrack before seeing the new movie. I have to say I’m pretty impressed.
Mean Girls does an interesting job of remaking the original movie, incorporating the music from the musical, and updating the story for modern times without losing much of the magic that made the original movie so good. It’s actually a lot to accomplish, but directors Samantha Jayne and Arturo Perez Jr. do a great job of striking a good balance.
The new cast had big, pink high heels to fill here, and everyone does a great job of establishing themselves I the roles while paying homage to the original cast. Renee Rapp and Angourie Rice are particularly good in the lead roles of Regina and Cady, respectively. Unlike their predecessors, they are called upon to act, sing, and do a great job with both.
This movie is more of a remake of the original movie with the songs from the musical baked in instead of a direct movie version of the musical. I think the choice works very well, but fans of the musical may be disappointed by some of the choices to shorten or cut songs entirely from the movie. If you’re unfamiliar, the plot is that Cady Herron has grown up in Africa and is homeschooled by her mom. As Cady turns high school age, her mom accepts a job at a University in the United States, where Cady will attend school for the first time. She’s excited at the prospect but soon finds that high school is just as dangerous and unpredictable as the wilds of Africa.
She is quickly accepted by Janis and Damien, but is just as quickly ensnared in the clique known as The Plastics, ruled over by Regina George (Rapp). From here, Cady lives a double life, befriending and infiltrating the Plastics to enact revenge for the horrors they have enacted on the women of the junior class. Along the way Cady finds herself becoming more and more “plastic” while falling for Regina’s ex Arron Samuels (Christopher Briney) and suddenly failing math a subject she’s actually quite good at.
The structure of the movie follows the original very closely, with the big musical numbers expertly incorporated right into the story. The plot moves along at a brisk pace, with the story being propelled by both the narrative and musical numbers. Affordances are made here for the modern setting of the movie. Cell phones, social media, and updated slang are incorporated here while returning almost everything from the original. Fetch, October 3rd, and the Spring Fling are all here and accounted for. There are a few updated jokes, a couple of clever references to the original movie and one BIG cameo that sent our theater crowd into an uproar.
One important note is the spectacular performance of Auliʻi Cravalho as Janis 'Imi'ike. She definitely steals the show! Her voice is phenomenal, and while all of the songs are good and all of the performances are top-notch, hers is outstanding!
Mean Girls fans, I think your cherished classic is in good hands. As Gretchen would say, “It’s so fetch!”
Van Halen’s 1984 Turns 40
Van Halen’s seminal sixth album, 1984, turns 40 years old this year. For Gen X kids growing up with MTV, this is a sobering anniversary. You see, this album was a big deal. Van Halen were among the biggest American bands in the world in 1983 And we’re about to become even bigger. Formed in Pasadena in 1973, Van Halen emerged from the Southern California scene to become an indomitable force on FM radio and MTV.
1984 came after furious recording and touring between 1978 and 1982. Eddie Van Halen was established as a guitar god, one of, if not the best ever to pick up the instrument. His brother Alex was a force on the drums, and his rhythm section partner Michael Anthony was an angel on background harmonies. Then out front, David Lee Roth. The quintessential rock frontman. Van Halen entered cities like a tornado, leaving a path of destruction, breathless women, rowdy teenagers, and wide-eyed guitar fans in their wake.
1984 came at a tumultuous time in the band. Eddie Van Halen was starting to tire of DLR’s antics and was embracing an infatuation with synthesizers that changed the trajectory of the band forever. Wanting to have more autonomy over creating his music EVH built a studio, 5150, at his home and began working out of there. Here with engineer Donn Landee, the album began to take shape.
I became a fan of Van Halen at this time. I was familiar with them prior of course, but my age, with the availability of MTV at home, I was perfectly primed for this. I’d become a super fan during the Sammy Hagar years, but my foundational fandom was forged here. I used to wait for the foreshadowing filmstrip or cargo plane that proceeded the videos for Jump and Panama. I squealed with delight as the mini-movie video for Hot For Teacher came on. These were songs you’d scramble to hit record on your boombox to capture, or, in the case of Hot for Teacher, turn the volume knob as far to the right as you possibly could.
Van Halen seemed dangerous. Dave’s cryptic way of talking, always hidden behind sunglasses and that huge smile. Ed talked through his guitar and smoke rings, solidifying the image of danger. Hell, even the baby on the album cover was smoking. It was the 80’s and this was its soundtrack.
As an album, 1984 was both an evolution and a revolution of Van Halen’s sound. There were plenty of smoking hot guitar riffs, mind-bending solos, thunderous drums, soaring harmonies, and nonsense lyrics punctuated by DLR’s signature whoops, hollers, and screams, all of the things that came to define Van Halen’s signature sound. But there was something else here. Layers of synthesizers. Synthesizers were not necessarily new to the Van Halen sound, they appeared on songs on Fair Warning and Diver Down, but here they were out front, dominating the sound and charting the path forward for the band. The opening title track is all synths, an instrumental introduction to the ultimate keyboard anthem and Van Halen’s most recognizable tune, Jump. Anytime that keyboard intro hit, you knew you were in for a good time. The band doesn’t rely solely on EVH’s new obsession with the synth. Songs like Panama, the aforementioned Hot for Teacher, Drop Dead Legs, and Top Jimmy deliver the guitar-based goods, but it was Jump and the sort of ballad I’ll Wait, co-written by Michael Macdonald, that this album is best known for.
Ed’s approach and vision worked. 1984 would become a monster. The band’s second diamond-selling (10 million units) album and their self-titled debut. While the album certainly is a product of its time, having its name hitched to the year of its release certainly doesn’t hold it back from being a timeless classic.
As I grew up and started attending concerts regularly, Sammy Hagar replaced Dave and that became my Van Halen. That’s not to say I didnt and don’t love the DLR era, I do, I just was so much more familiar with Sam and saw that version of the band countless times on each of their tours together. I don’t take sides on the whole stupid fight between singers, I love all of Van Halen.
As my Sammy-era fandom grew, I also deep-dived on the six-pack. Ironically, 1984 became less and less important to me. In fact, for a long time I took it out of the rotation having tired of Jump and Panama and I’ll Wait. Honestly, I’d much prefer hearing Michael MacDonald talk a run at I’ll Wait instead of ever hearing the original again.
In more recent years, I’ve grown more fond of the record again, though my faves are songs like Drop Dead Legs, Girl Gone Bad and House of Pain. I was pretty done with Jump for a couple of decades and truth be told I never really liked I’ll wait.
I gave this album a relisten to, straight through on vinyl, and listened loudly. I have to admit it sounded pretty great. This is a fun album, it abadones the darkenss of Fair Warning and the absurdity of Diver Down for a pretty straightforward hard rock record. The songs are a little more pop-oriented, radio-friendly for 1984, of course, and sound pretty slick. I’ve come back around on Jump and I’ll Wait is fine. It’s not hard to see why this record connected with so many back then and continues to be a fan favorite today. Happy anniversary 1984!
Music From the Motion Picture Philadelphia
Music From the Motion Picture Philadelphia was released 30 years ago this week. Philadelphia is a legal drama released in 1993. The film was written by Ron Nyswaner and directed by Jonathan Demme. It stars Tom Hanks, Denzel Washington, and Antonio Banderas. The movie was primarily filmed on location in Philadelphia and tells the compelling and tragic story of Attorney Andrew Beckett (Tom Hanks), who hires fellow attorney Joe Miller (Denzil Washington) to sue his firm for discrimination and wrongful termination after they fired him after discovering he was gay and has AIDS.
Howard Shore scored the film, but the soundtrack includes a smattering of songs featured in the movie along with one piece of music from Shore’s score. Unlike other popular soundtracks of 90’s movies, this soundtrack includes more mature music from mostly established artists that best fit the tone and story of the movie. The soundtrack stretches back to the 80’s for most of its artists including Bruce Springsteen, Neil Young, Sade, and Peter Gabriel. But then it also includes 90’s artists Indigo Girls and …Spin Doctors? it’s a bizarre collection of songs, to be honest. Outside the outstanding dueling Philadelphia-titled songs from Springsteen and Young, it’s not super memorable either. The Spin Doctors, whom I enjoy, inexplicably cover Creedence Clearwater Revival’s Have You Ever Seen The Rain? which is a fine cover but out of place on this soundtrack.
Honestly, this was a fine background listen and reminded me I should probably re-watch this movie again sometime but other than Springsteen and Young, it’s not really my cup of tea. I can’t imagine pulling this off the rack too often in the future.
The standout is the Young track, which is used to tremendous effect at the end of the movie. Young’s haunting voice and melancholy arrangement are perfect for the scene and the song is strong enough to stand on its own as well.
Rating: 💿💿💿
Music From The Motion Picture Philadelphia CD
Music From The Motion Picture Philadelphia CD
The 1994 Project
1994 was a pivotal year for music, my favorite year for music full stop.
This year I plan to explore the music of 1994 as these songs and albums turn 30 fucking years old. ‘94 saw the end of the “glam” rock era, we were in the early stages of the “grunge” and alt-rock emergence, and hip hop was popping off. Movie soundtracks were still a HUGE thing and the mighty compact disc still reigned supreme. We were still years away from the Napster era, the iPod release and the current vinyl resurgence. It was a time to be immersed in music. You bought albums and listened to the whole damn thing. Sometimes you got burned by one or two great songs and a lot of filler. Used CDs were cheap, concert tickets were also. I saw Weezer a few times in a club for like $20. Radio was still relevant and MTV still played videos. What a time to be alive.
I’ll use this wiki page for my list and dates, but I will try verifying release dates and other information using various sources. I’ll try to write about, Thread, Insta, Tumbl, and maybe even talk (!) about these albums as close to their release dates as possible.
So, what are YOUR favorite albums from 1994? I cannot wait to hear them.
For my 90’s bona fides here is a photo of myself and Jason Mewes. Let’s rock.
Taylor Swift Pointed At Me
2023 was quite a year. Taylor Swift pointed at me. Oh, and I had quadruple bypass heart surgery. The two are, believe it or not, unrelated.
The year began as most years do; I planned to do a lot of things I’d never accomplish. Losing weight, exercising more, spending more quality time with family and friends, reading. Wesley moved to Florida to work for Disney, exponentially increasing my pride and anxiety. We had a lot of things to look forward to this year. We thought incorrectly that the pandemic was in our review mirror. We had a trip planned, tickets to see the aforementioned Dr. Swift, and several other things to look forward to.
On March 21, I had a cardiac catheterization to check out some pain in my chest and general fatigue I’d been experiencing. That day did not go as planned. We were scheduled to leave just a few days later to visit Wesley in Florida. A trip that never happened. Shortly after the procedure, my cardiologist entered my room and began tossing out numbers while drawing on a schematic of the human heart. He may as well have been speaking a foreign language and writing in Sanskrit. The bottom line was I had five blockages in my heart ranging from 60% blocked to a widow-making 95% blockage. I’d need heart surgery. And soon. He recommended not traveling and getting my pre-op work done in the next week and my surgery in a few weeks. Rebecca asked, “What if we just stay here?” My cardiologist said we could try that and see if someone could perform the surgery the next day. They could. So what began as a Tuesday before vacation turned into a life-changing and life-saving trip to the hospital.
The surgery went as good as it possibly could have. The surgeon took a vein from my leg and used it to bypass all the blockages in my heart. Apparently, before the surgery, while under anesthesia, I laid out and executed a perfect Seinfeld joke about not wanting a Junior Mint to fall into my chest cavity.
Wesley was able to fly home, so everyone was home to support me during this time. While I was scared, my wife and I took a one-step-at-a-time approach. This was happening; the other option was me dying eventually, so we just had to take each challenge as it came up and keep moving forward. I think I felt the most bad about the stress I put my family under. It must have been dreadful for them.
Recovery was difficult, but again, we approached each challenge as it came up and tried to succeed and move on to the next one. One thing that was very hard, was that several people I’d considered friends didn’t seem to concerned with my peril. Some of them didn’t even reach out to see how I was. And still haven’t. That was tough. But I persevered, physically and mentally. Day by day I got stronger. I was able to walk to the mailbox. Then to the end of the street. Then around the block. Then a mile…while I was in the hospital they asked me to set a recovery goal, some personal milestone to work toward, I said I wanted to see Taylor Swift with my daughter. We had tickets to several shows on the Eras tour and I was worried my new health situation would not allow me to go. Fortunately, my surgeon assured me I’d be able to go and we did! Our story even made the local news!
And then, Taylor Swift pointed at me.
I can’t say that 2023 was a great year. Much of it was pretty miserable, but thanks to the skill of my surgeon and my family’s support, I survived heart surgery and Taylor Swift pointed at me. I’ll take the wins where I can.
The Hyperbole Free Best Albums of 2023
1. boygenius the record
2. Taylor Swift 1989 (Taylor’s Version)
3. GUTS Olivia Rodrigo
4. Taylor Swift Speak Now (Taylor’s Version)
5. Bethany Cosentino Natural Disaster
6. Reneé Rapp Snow Angel
7. Misterwives Nosebleeds
8. Gorillaz Cracker Island
9. Foo Fighters But Here We Are
10. Bully Lucky For You
11. Paramore This Is Why
12. Metallica 72 Seasons
13. The National First Two Pages of Frankenstein
14. The Rolling Stones Hackney Diamonds
15. Blondshell Blondshell
Bully Lucky For You Review
Lucky for You, Alicia Bognanno’s latest effort under the Bully banner is a spectacular record.
Everything about this record screams that Bully is ready for the big time. If this album were released in the mid 90’s it would be a big hit and break her into the mainstream of alternative rock. The album is polished, mature, and sophisticated while maintaining the crunchy guitars, catchy melodies, and signature screams she’s known for. It is definitely not a “sell-out” record, but it is a mature offering that shows Bully is ready for the big time.
I saw Bully finally the year opening for Pixies, and it was a perfect pairing. Bully’s crunchy guitars and occasional screams match well with the legendary act. Songs like A Wonderful Life and All This Noise match that alternative energy that drew so many people to this type of music in the 90s and why so many artists are rediscovering this sound.
Songs like All I do, the aforementioned A Wonderful Life and Lose You, the collaboration with Soccer Mommy, have the potential to be big radio hits. Change Your Mind is a bop with that satisfying slow, fast, slow fast energy that drives a lot of alternative rock. Crunchy guitar, driving bass and an engaging melody and lyrics make this a highlight of a great record.
Lucky for You packs a lot into just over 30 minutes. If you like guitar-driven alternative rock in the vein of Liz Phair, Veruca Salt, or even Hole, this is a great record for you.
The First Two Pages Of Frankenstein Review
I have to admit that despite being a Cincinnati native who has long supported the local music scene, I’ve never been too much into The National. It was guitarist Aaron Dessner’s collaboration with Taylor Swift on the albums Folklore and Evermore that made me pay attention. And I’m so glad I did. Though now I’m disappointed at not having become a fan sooner.
Once Upon a Poolside, featuring Sufjan Stevens pulls you right in. This is hipster lounge music. Matt Berninger’s silky smooth delivery is fantastic and the addition of Stevens is perfect.
On Eucalyptus, the band plays their indie credibility card calling out The Cowboy Junkies and fellow Cincinnati indie rock luminaries, The Afghan Whigs across a sprawling, echoey indie rock dreamscape.
Songs like New Order T-shirt and Ice Machines are the kind of melodic, dreamy indie pop you expect from The National. Grease in Your Hair and Tropic Morning News pick up the pace a bit with the Dessner brothers rocking out a bit. Matt Berninger’s voice is solid, smokey, and wistful throughout, the perfect indie rock front person.
For me, it’s the collabs that stand out here. My favorite female vocalist, Phoebe Fucking Bridgers appears on two songs adding her angelic, god-like voice to an already impressive presentation of indie rock perfection. And of course, the obligatory Taylor Swift cameo on The Alcott is outstanding. Aaron Dessner’s friendship and professional collaboration with Swift will no doubt continue to pay dividends for years to come.
The First Two Pages of Frankenstein is polished, mature indie rock. The National has probably even been around long enough for them be classified in the dreaded “dad rock” category. Regardless, of classification this is accessible pop, polished rock, full of catchy, melodic engaging songs.
Godzilla Minus One is a Plus a Million
The hype is real. While American audiences are still haunted by the specter of Roland Emmerich’s Godzilla 98, we’ve been gifted with a new take on the classic kaiju that we certainly don’t deserve. Godzilla Minus One is glorious. A Hollywood blockbuster better than anything Hollywood had given us in ages. A film that is deeply rooted in the classic monster movies that came before it but carefully crafted as a serious well well-made drama.
A period piece set in post-war 1940’s Japan, Godzilla Minus One looks fantastic. The color pallet, the set pieces, and the machines of war all look incredible. Unlike the more recent American Monsterverse movies with their heavy-handed CGI and unremarkable stories, Minus One is a monster movie that matters.
At its heart, Godzilla Minus One is a family story told among the horrors of World War II and well the post war emergence of the nuclear-powered monster known as Godzilla. Koichi, played by Ryunosuke Kamiki, is a dishonored and disgraced kamikaze pilot who chose to ditch his suicide mission and land on Odo Island. The mechanics on the island quickly discern his treason but allow him to stay, one mechanic is even sympathetic to his decision. Godzilla soon appears, his herald a group of deep see floating fish who appear on the surface before Godzilla. Godzilla wreaks havoc on the island, killing everyone, while Koichi freezes up when he had this chance to kill the monster.
Koichi suffering from crippling PTSD and mental anguish, returns home to find his parents dead and his home destroyed but standing. A neighbor recognizes his treason by the fact he’s alive and shuns him.
Soon, Koichi meets Noriko (Minami Hamabe) and the infant Akiko (Saki Nakatani). Noriko agreed to take Akiko from her dying mother, and soon the trio form an unlikely and uneasy family. While the relationship between Koichi and Noriko always remains platonic, there is clearly love there and this is a family you’re ready to root for.
Koichi lands work as a minesweeper off the coast of Japan, which soon puts him and his crew face to face with a now fully grown Godzilla. They are given instructions to slow Godzilla’s approach to Japan and succeed for a bit.
The glory of this film is that while it is definitely a monster movie, you care about these characters. You invested in the family and were concerned for the crew. Major Jaws vibes as they hunt and fight Big G for the first time.
Everyone here puts on a good performance. Whereas the original Godzilla was an allegory on the terrors of the nuclear age, Godzilla Minus One is a treatise on the modern family and the global mental health crisis. Kamiki’s performance is nuanced and brilliant. He expresses the anguish, grief, and emotion befitting his character’s experiences.
Eventually, Godzilla reaches Tokyo, and all hell breaks loose. This scene is no extended CGI nonsense. It’s short, terrifying, and tense. Director Takashi Yamazaki does an amazing job of presenting horror and tension while still showing us the shock and awe of a monster attacking and destroying the city. There’s a key moment here I won’t ruin but it’s shot expertly and the emotional pay off hits like a ton of bricks.
From here plans are made to go after and kill Godzilla. There’s lots of nerdy science talk as they prepare for battle and it’s just too fun. The final battle is thrilling the only negative at all to this movie is Godzilla looks a little stiff and fake during the scenes on land here. It’s not enough to distract from how fantastic the movie is otherwise.
Godzilla Minus One is a great movie. It’s well written, expertly directed, and the acting is top notch. The movie looks fantastic more like a classic movie from the 70’s and less like a bloated modern Hollywood mess. It’s engaging, emotional, and entertaining. Koichi’s hero arc is outstanding. This is a monster movie for everyone. Don’t miss out.
Hackney Diamonds Review
I’ve never been that big of a Rolling Stones fan. I like a lot of hits, of course, but I’ve never owned a record, seen them live, or done a deep dive of the group. When Steel Wheels came out in 1989, I remember really liking Mixed Emotions. When A Bigger Bang was released in 2005 I recall really enjoying Rough Justice. Those minor flirtations with really good songs didn’t really inspire me to go much further with the band. Now, 18 years since their last release, The Rolling Stones are back with Hackney Diamonds, a new collection of rock and roll tunes for the geriatric set. Or is it?
It’s not news that rock music-the sort of masculine-dominated “sex drugs and rock and roll” guitar-driven rock that dominated arenas in the 70’s , 80s and 90s- has been on a sharp decline. Of course, no one told the olds. This type of music still packs stadiums and arenas, flows freely from car stereos and even dominates much of the catalogue music sales charts. While the Stones are necessarily going to or even trying to appeal to a youthful audience, their upcoming tour is sponsored by AARP after all, they apparently WERE interested in making a great straight forward rock record. With an eye on keeping things modern, they retained the services of producer du jour Andrew Watt. Watt has parlayed an early career of working with pop stars like Justin Bieber into an impressive career working studio magic with everyone from the likes of Post Malone, Dua Lipa and Miley Cyrus to rock legends Ozzy Osbourne and Pearl Jam. Watt has an ear for guiding artists to make listenable music that connects with the intended audience and beyond. His success creates a bit of a buzz. That is certainly what piqued my interest.
A few music friends I respect began really heaping praise on Hackney Diamonds shortly after its release. Then, I heard someone say wow, The Rolling Stones made a Hanoi Rocks album. And I agree, they did! Let’s back up. Hanoi Rocks is a Finnish rock act from the 80’s best known for having their drummer get killed in a car accident with Motley' Crue’s Vince Neil. It’s a shame, because if you’re a fan of the better bands of the 80’s hard rock and metal scenes (think Guns N Roses), you’d probably really like Hanoi Rocks. The lack of stateside success and the untimely death of the aforementioned Razzel Dingley ensured Hanoi Rocks were more of a footnote than a global phenomenon. But their blues-based glam rock sound always reminded me of what a punk version of The Rolling Stones would probably sound like. With Hackney Diamonds, The Rolling Stones deliver on that promise.
I was eight songs into the record before I realized I was smiling like a goon and tapping my feet the entire time. The goofy lyrics on Live by the Sword finally took me out of my stupor, but even that song with its rollicking piano and gang vocals is pretty good. By the time Jagger growls “Gone gone GONE!” before the guitar solo, I was back on board. Hackney Diamonds is the kind of straight forward rock record that shines with moments of brilliance while chugging along solidly the entire time.
Opener, Angry, has the kind of instantly recognizable one-two punch of Stones guitar riff/Jagger vocals that instantly grabs you and reminds you why guitar-based rock was so popular and dominant for so long. The chorus is catchy, the music is fun and the video with Sidney Sweeny driving through LA in her best black rock attire is a throwback.
Get Close continues the standard formula, simple guitar riff, Jagger swagger, catch chorus, guitar solo, rinse repeat. Jagger growls with confidence and sounds better than ever. As the music pulses and rises around him he leads this rock and roll circus with a swagger of a man three quarters his age.
The band slows things down with Depending on You, a meandering Whose Gonna Ride Your Wild Horses type ballad befitting of middle career stones before kicking thing back into gear for the next few songs. Bite My Head Off and Whole Wide World are rockers and remind me most of Hanoi Rocks. Catchy melodic choruses are built on top of a sturdy combination of punk-influenced blues-based rock foundations. You can SEE Jagger snarling “they want to break your walls in those slimy walls”. Featuring a killer guitar solo and a slow post solo breakdown, this is an absolute bop.
It’s understandable to be wary of Sweet Sounds of Heaven, the 7 minute epic featuring Lady Gaga. But don’t be. Sure, it’s long. Sure, it’s bloated, but in the best November Rain way possible. Jagger and Gaga go after each other, hitting crazy notes as the song builds to a ridiculous crescendo before going off the rails in a buzzsaw of screams, oh oh ohs, yeah yeah yeahs, and some other nonsense. It’s way too much but it’s incredibly fucking fun.
Finally, if the lo-fi cover of Muddy Waters tacked on the end of this album isn’t intended to be a fare the well to the Stone’s recorded catalog, I don’t know what is. Often, these blues covers feel unnecessary, a throwaway add-on but this feels intentional.
Hackney Diamonds is not an album we need. It’s not an album we expect. And it certainly is not something that you’d expect to be as good as it is. Rock music like this is not often in regular rotation on my turntable or phone but this long play has definitely earned a post there. And a mention as one of the best albums of the year.
Blondshell Review
Blondshell, the self-titled debut long play from L.A.-based indie rock artist Sabrina Mae Teitelbaum, better known as Blondshell, continues the tradition of the 90’s rock renaissance spearheaded by artists like Snail Mail and Soccer Mommy and perfected by artists like Pom Pom Squad and beabadoobee.
Blondshell’s music includes the kind of loud quiet loud bombast exemplified by bands like Nirvana in the early 90’s with a modern sophistication and pop sheen that makes each song a potential earworm. Pop culture-aware opening song Veronica Mars weaves in and out of the lot quiet loud model and rolls right into Kiss City, which punctuates that formula with softer moments accompanied by piano contrasted with moments of shouting and searing guitar solos. It’s complex indie rock. Emotional, raw, and engaging.
Lead single Olympus is a meandering, quiet, acoustic guitar-based number that could easily be mistaken for a Nirvana, Radiohead, or Noel Gallagher song, depending on where you drop in.
Many of these songs have an echoey, dramatic sound. Blondshell does an excellent job building the drama in each of these songs. Her voice is engaging whether she’s whisper quiet or shouting at the top of her lungs, it’s powerful, unique and steady. Explosive guitars, loud drums, ringing keyboards and even the occasional epic guitar solo make this album pretty accessible to a broad range of rock fans.
This album reminds me a lot of Pom Pom Squad’s 2021 release Death of a Cheerleader. Great, melodic indie rock with pop sensibilities and something to say. Thematically, Blondshell tackles issues of rage, toxicity, heartbreak, relationships, queerness, religion and so much more.
Blondshell is a terrific release. If you like music like Liz Phair, Nirvana, Pixies, or Belly this is for you. ****
I Had Breakfast at Skyline Chili, and I Have Thoughts
Breakfast is a critical component of diner culture to which, Cincinnati’s own Skyline Chili shares some DNA. While not a diner, of course, Skyline Chili is a chili parlor. The regional institution shares some similarities with diner culture; it’s very popular, has regulars, and the food is served on china. But unlike a typical diner, Skyline does one thing, and one thing well, in this case Cincinnati style chili. So it may seem bizarre to have breakfast at Skyline, it’s honestly not that great of a leap. Many independent parlors have breakfast and even serve burritos that incorporate Skyler Cincinnati style, chili, goetta, or other staples of the standard Cincinnati diet And there are vague memories that certain Skylines used to serve breakfast. But now Skyline Chili is bringing its wares to the Cincinnati Northern Kentucky airport, and to accommodate travelers that are traveling at all times of the day they’re going to offer breakfast exclusively at this location. To celebrate this announcement, Skyline chili served their new breakfast items at Fountain Square today for anyone to try. As a long time as a native Cincinnati and a longtime fan of Cincinnati style chili, I couldn’t resist and if the line at 8 AM when they began serving breakfast, was any indication, other Cincinnatians felt the same way.
Now Cincinnati chili may be considered something of an acquired taste. Though most Cincinnatians acquired that taste as part of their birth right. When talking to area transplants, many of them turn their nose up at our popular local cuisine, although you will find some fans and converts. But again, for most not all, but most native Cincinnati and Skyline chili is part of our heritage. We’ve been eating it since we were children, and it’s now part of our bloodstream, in my case probably 1 to 2%. I should note that my favorite Cincinnati style chili comes from a mom and pop shop in Western Hills. J&J on Glenway has always been my favorite Cincinnati style chili and always will be. But I digress let’s get back to the topic hand, which is breakfast at skyline chili.
There are four items on the breakfast menu at Skyline. Of course, a breakfast burrito, a breakfast Chito, breakfast tots, and the breakfast Coney. I imagine the breakfast coney is probably the item that most people are interested in it. It’s clearly most representative of what most people eat at Skyline chili which is the cheese coney, a hotdog served on a warm bun with chili and cheese. You can add onions and crackers but that’s the basics here for breakfast. The miniature hotdog is replaced with a breakfast sausage, onions are replaced with eggs. This is the item I tried, because I figured it was going to be the most representative item and the one that would also be most like something that you would eat regularly at Skyline. As you could see the single picture I took before trying, it looks like a coney with its mountain of signature cheddar cheese, which every person recognizes is as at the same time way too much and somehow just right. The cheese is piled high on top of breakfast sausage, egg, and chili all on that signature warm bun.
So how does it taste? Well, it’s Skyline chili for sure. The egg adds an interesting texture to the meal. The sausage is a little savory not too spicy and basically mostly covered up by the taste of the signature chili anyway, it’s an interesting item and one that I think native Cincinnati would probably not mind eating for breakfast as they travel out to their destination from the Cincinnati Northern Kentucky airport. I mean why not? What are your other options? Bruegger’s Bagels? McDonald’s? Jack-in-the-Box? Big Kahuna burger? I’m a Cincinnati native I’m gonna go for Skyline. Most Cincinnati residents palates are so tuned to Cincinnati chili that for us it’s just another item like eating a salad, a burger or a regular breakfast. Since chili is just part of what we eat and part of what we love. I love that Skyline is doing this. It makes sense to try it on a trial basis at the airport. It’ll be interesting to see how they react to the lines for the launch and reviews like this one as they possibly consider rolling this out to further locations. But for now if you missed the launch at Fountain Square the only way to get breakfast is skyline chili is at the location at the Cincinnati Northern Kentucky airport again. The items that are available are a breakfast Coney breakfast Burritobreakfast Chito and breakfast tots you can find more details at skylinechili.com.
The Afghan Whigs Gentlemen Review at 30
Gentlemen, the major label debut album from Cincinnati alternative rock legends, The Afghan Whigs was released 30 years ago today. Having a band from my hometown sign to the same label as Mötley Crüe, 10,000 Maniacs, The Cure, and The Doors seemed like a big deal. Here was a band I grew up seeing in tiny smoke-filled clubs on Short Vine near the University of Cincinnati showing up on MTV, Late Night with David Letterman, and on the radio (sure, on 97X which played them since go, but still).
Gentlemen solidified the band’s maturity from a club band to a national recording artist. Big Top Halloween and Up In It were great records but were raw, unpolished, almost unrefined punk records. Congregation was a bridge between the two eras, a more refined sound with throwbacks to the edgy, raw sound of their earlier releases. Gentlemen was produced by Greg Dull at Ultrasuede Studios in Cincinnati and sounds polished, unique, professional, mature, and beautiful. Everyone gets their chance to shine in the mix. From John Curley’s bass on the title track, to Rick McCollum’s meandering lead on the back end of When We Two Parted, to Steve Earle’s pounding, almost tribal-sounding drum beat on Fountain and Fairfax the album sounds absolutely incredible. Mr. Dulli’s voice of course is nested in the mix perfectly, his rich baritone and guttural screams are given a wide berth to shine through the record.
Most people outside of Cincinnati know this band from the song Debonair which received some regular rotation airplay on MTV outside of 120 Minutes. I vividly recall seeing it after class one day at around 4:30 and thinking, “Woah, the boys made it”. Honestly, it’s not a bad place to start. Each member’s unique signature sound is represented here. With Curley’s slithering bass and Dulli’s quiet, loud, scream vocal path on brilliant display here.
But, of course, the album is so much more than Debonair. As with any Whigs album, Gentlemen is a treatise on love lost, regret, despair, sex, forlorn desire, and yearning. Imagine any teenage Gen X boy’s journal but much darker, more coherent, and brilliant. Even if we hadn’t yet felt heartbreak, desire, yearning, or despair at the levels on display here, we felt the angst, we felt the burning and Greg’s lyrics and vocal delivery amplified every emotion we were feeling. And it left you scarred. I recall sobbing uncontrollably during a live performance of When We Two Parted in 2012, a point in my life where I was a grown man, a happily married father of two, literally obliterated by a then 19-year-old song.
The brilliance of Gentlemen lies in the journey. These songs take you to certain moments in your life. Your first kiss. Your first breakup. The first time you felt yearning. The first time you felt despair. Your first apartment. The highs and lows of your first love. Music like this allows you to go to dark places and release those emotions. An Afghan Whigs record is the soundtrack to a movie that was never made, an Afghan Whigs concert a church revival of a religion you actually believe in. And in 48 minutes across 11 songs Gentlemen represents all of these things.
While the tones are dark, the emotions raw, and definitely on the sleeve, this is still a rock record. On Fountain and Fairfax and What Jail is Like in particular, the band goes all out, with heavy, crunchy guitars and screaming vocals that are totally unhinged and off the rails. The title track and Debonair are also guitar-forward tracks that are at home next to any rock song on alternative or rock radio. Even the more tender songs like When We Two Parted and My Curse (featuring a haunting vocal from Marcy Mays) still have heavy parts built around the emotional, building melodies.
I always wonder why this isn’t the biggest band in the world. Everyone has that band they want to shout about from the rooftops, the band you want to grab people by the shoulders and shake until they get it. But at the same time, I adore having this band almost to myself. Talking about them online or enjoying a show with like-minded fans, fans that are so passionate and I tune with what the band is saying, is something else. These are more than rock stars to me, they are teachers and preachers, cooler older brothers, poets and artists, and Gentleman is one of the canonical ancient texts from which they preach.
While Black Love has my heart and soul, Gentlemen is a close second, an incredibly important record in the Rich Richmond timeline. I was a much different person at 20 than I am at 50, but Gentlemen is still the same record at 30 as it was at launch, an emotionally draining, hard-driving, timeless alternative rock album that feels as genuine and relevant today as it did in 1993.
Uh, I Walked Here
We’re about a month and a half out from my surgery and things are looking up. My main recovery goal to get to the Taylor Swift concert in Nashville is complete! We made it and other than my olde man knees, I felt fine!
My incision is finally clear of any glue and scabbing. It is still tender and sensitive, but pretty much healed. The chest area is getting better still rough to cough or sneeze. But not as much pain as a few weeks ago. I had my last meeting with my surgeon last Friday. He said for three more weeks not to lift more than 10 pounds, but after three weeks I could “do whatever I want”.
The last stage of recovery is cardiac rehab which I started today at Mercy Anderson HealthPlex. It’s Monday, Wednesday and Friday for 6 weeks. After my session today they asked if someone drove me or if I needed help to my car and I said “Uh, I walked here”. I don’t think they expected that. LOL.
Anyway, thank you for continuing to check in on me. I appreciate the texts, calls, and hangs. Busy week this week with rehab and other assorted doctor appointments. Now, I can really begin thinking about nutrition and exercise to keep this thing going for another few years.
Taylor Swift Red Review
Red (Taylor’s Version) Originally Released October 22, 2012 (Taylor’s Version) Released November 12, 2021.
Red is when it starts to get real. Taylor Swift is already a genuine global superstar after her first three albums but Red would catapult her to the next level big time. While she is still working with previous collaborators that made her first three record country hits, Red began to have songs firmly rooted in pop. Even the title track which has banjo/twangy guitars up top, quickly pivots to a pop friendly arena anthem.
I love this record. I recall specifically MTV making a big deal out of the debut of the video for I Knew You Were Trouble. Clearly this song showed Taylor’s future aspirations in both sonic tone and visuals in the video. Listening to these songs then made me a super fan and revisiting them on the definitive Taylor’s Version is a thrill.
The hits here are big and hit hard. The aforementioned I Knew You Were Trouble, the title track, and the legendary ballad All Too Well would be enough to make this Taylor’s best album to date but for me it’s the poppy, sing along tracks 22, and We Are Never Ever Getting Back Together that really drive this album and put it over the top. One of my favorite live performances ever is a decidedly not country performance of 22 from the Billboard Music Awards. It’s such a fun song that just captures the energy of being young and living your best life.
It’s amazing that we’ve touched on some really monster songs and haven’t even yet mentioned Everything Has Changed, her powerful duo with Ed Sheeran, the bouncy, fluffy ear worm Stay, Stay, Stay or her collab with Gary Lightbody from Snow Patrol (an early indication of her future indie rock aspirations perhaps?)
Taylor’s Versions bring more depth and maturity to the performances here as well as of course the legendary All Too Well (10 Minute Version) [Taylor’s Version] [From the Vault]. Despite the awkwardly punctuated and lengthy title, this legendary song lives up to the hype expanding on the response to her breakup with Spider-Man: Far From Home’s Jake Gyllenhaal in spectacular fashion.
Red is a ridiculously good album, full of pop hits, powerful introspective ballads, and just incredibly fun songs that instantly became classics in the Taylor Swift catalogue. Taylor’s Version of this album puts it among some of the best albums of the century. 10/10 Highlights: Red (Taylor’s Version), I Knew You Were Trouble (Taylor’s Version), 22 (Taylor’s Version), We Are Never Ever Getting Back Together (Taylor’s Version), Stay Stay Stay (Taylor’s Version), All Too Well (10 Minute Version) [Taylor’s Version] [From the Vault]
Taylor Swift Speak Now Review
Speak Now Originally Released October 25, 2010
By 2010 Taylor Swift was far removed from playing rubber duck regattas and ready to abandon opening slots for the arena country artists of the day.
On Speak Now, Taylor Swift stretches farther away from country music and begins to address the trauma in heart. A trend that would allow Miss Swift to connect to millions of teens and young adults experiencing heartache and also open her to criticism about being vengeful and petty in her “attacks” on her ex boyfriends. But what’s the first rule of writing? Write. What. You. Know. And no one knows heartbreak like Taylor Swift.
Her critics are Taylor’s first target with the scorching track Mean. While seemingly and probably actually targeted and a single individual telling her she could t sing, it’s more likely that Mean is a coordinated middle attack on everyone who had levied criticism on Taylor as her career careened at supersonic speed toward global superstardom.
The song is twangy country punctuated by piercing banjo perhaps in itself a response to critics saying Taylor was already too far away from her country roots. Of course Taylor doesn’t give a shit building an incredible scaffolding of melodic pop around the country twang of Mean.
Dead and Co. Guitarist John Mayer is widely believed to be the subject of the not so subtly titled Dear John. Get it together John. At least you’re not Jake Gyllenhall. Buckle up for that Jake. Dear John doesn’t pull any punches and yes, established one type of Taylor Swift song, the breakup atomic bomb. No it’s not the only type of song she writes but yes she does it as artfully and skillfully as a yearning poet reflecting on long lost love. A weepy ballad that wistfully says exactly what everyone wanted to say to the John Mayer in their own personal heartbreak diary.
Speak Now has its own one two punch of breakthrough hits. The Story of Us and Mine are spiritual of not direct sequels to Love Story and You Belong With Me from Fearless. Story of Us is again a perfect pop song built on pop country principals. Teens in cowboy boots or sneakers were both screaming along to this song when she played it live. The opening track Mine is a typical story song telling the love story of a young couple finding their way through the world together. There might be a steel guitar in there and Taylor occasionally slips back into twangy Taylor but this is a song for everyone who’s ever been in love.
Speak Now is probably the last “country” record Taylor made or will make but the blueprint for her transition to pop is fully in place. once she’s old enough to drink I think Taylor is ready to broaden her fan base to well, everyone. 8.5/10 Highlights: Mine, Sparks Fly, Back To December, Speak Now, Mean, The Story of Us.
Taylor Swift Fearless (Taylor’s Version) Review
Fearless (Taylor’s Version) Originally Released November 11, 2008. Taylor’s Version April 9, 2021.
*Ed. Note: When possible I’ll be reviewing Taylor’s Version of these albums as they represent the artists definitive version of these albums.
Fearless (Taylor’s Version), the re-recorded version of Taylor Swift’s sophomore album already begins to demonstrate her move toward pop. Sure, this album is pure country but it’s already more mature and sophisticated than her debut showing a songwriter starting to grow and flourish as she understands who she is as a person and musician. While still a teenager and rooted deeply in the country music scene Swift is also already starting to assert her independence that would eventually become full on feminist and activist in later years. The opening and title track Fearless is that declaration a perfect pop song that sounds contemporary and relevant as ever on this re recording. It’s interesting to hear some of these songs reinterpreted by an adult Taylor. Fifteen for example is the kind of high school reflection that was fresh on her mind and heart when she wrote it. All these years later she’s a young woman who has had her heart broken a million times. But adult Swift sings the song with an earnestness that captures the original record while still somehow sounding like it’s being sung by someone far more mature and knowledgeable and sad.
Fearless includes the songs that propelled Taylor to superstardom Love Story and You Belong With Me. Diary entries to love lost and love unrequited these songs smashed onto radio and into the heads of millions of girls (and their moms and dads). Perfectly poppy, hooky af, and fun as hell these songs captured the imagination of the world and remain among Swift’s most popular and enduring songs. The “new” versions here are punchier and louder than their originals while still sounding eerily like the originals.
Fearless (Taylor’s Version) is an incredible set of music that includes huge hits, low key fan favorite deep cuts and a slew of previously unreleased and unheard songs from the original sessions that demonstrate even more of Taylor’s process and progress as a songwriter. 8.5/10. Highlights: Love Story (Taylor’s Version), You Belong With Me (Taylor’s Version), Mr. Perfectly Fine (Taylor’s Version).
Taylor Swift Debut Review
Taylor Swift Taylor Swift Originally Released October 24, 2006
Taylor Swift’s debut album is unapologetically country. Swift was 17 when she released her debut album, a self titled collection of tracks she’d been crafting since she was barely a teen. Reaching deep into the country music she loved at the time there’s little here to indicate the juggernaut Swift would become when she began to crossover into the mainstream and eventually covert to pop and eventually indie rock. (And back to pop again!) However what is here is Swift’s ability to craft perfectly catchy songs that are authentic and real. From the sappy but earnest ballad Tim McGraw which introduced Swift to the world to the revenge scorcher Picture to Burn to the twangy mid tempo Our Song, Taylor is full on country - banjos, twangy vocals, and references to pickup trucks remind the listener where this album belongs.
There are glimpses of what’s to come. A Place In This World and Should’ve Said No demonstrate the pop sensibilities that would eventually dominate Taylor’s approach to songwriting. They are endlessly catchy, easy to sing along with and get stuck somewhere between your heart and your head an impossible location from which to dislodge an ear worm.
I’m a sucker for 90’s pop country Shania Twain, Tim McGraw, Faith Hill and of course Garth Brooks, the type of country songwriters that crafted songs that seeped into the mainstream and obviously influenced young Taylor Swift as she was learning to write songs.
Taylor Swift is my least favorite Taylor Swift album. Not that it’s bad, it’s pretty great but it wasn’t until Speak Now that I became a causal fan and Red for me to become a full on Swiftie it’s just that mid 2000s country from a 17 year old girl wasn’t on my radar. A fun listen for sure and important to see the building blocks of what’s to come next. 7/10. Highlights: Tim McGraw, Should’ve Said No, I’m Only Me When I’m With You, Teardrops On My Guitar.
