The Best Beer Breweries In New York State (According To Mister Sterling)

New York State is a lot of things. First off, it is a big, beautiful sate, geographically. Like Massachusetts, it has the ocean and the mountains. Being close to Canada, it potentially has more fresh water. Politically, it is a mess, full of corruption and leaders who undermine their own parties.

But briefly I will discuss something good and fun about New York State - its beer.

In my mind, New York State beer isn’t as elite as California, Colorado or Vermont (and increasingly, Australia, Japan Iceland and Denmark). But it absolutely goes toe-to-tie with my home state of Massachusetts and its next door neighbors, Pennsylvania, New Jersey and Connecticut. And as you will see from my picks below, some of the beer here in New York is exceptional and significant in craft beer culture.

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Photo by Andpna’s, Ridgefield Connecticut

When discussing New York State breweries, it is best to start with what is arguably the most significant brew, Flower Power by Ithaca. It brought a west coast style IPA to the state. Back then, it seemed dramatically over-hopped. But it is mild compared to the hazy IPAs that followed 10 years later. Before Flower Power, the hoppiest New York beer was Brooklyn IPA. But on the heels of Flower Power, we saw stronger ales like Bengali by Sixpoint. The race to release the next super-hoppy IPA in the northeast was officially on. And it hasn’t stopped. It needs to be acknowledged, that the contemporary era of northeast IPAs was started by Dogfish Head (from Delaware) in 2001. New York jumped into the game 3 years later with Flower Power.

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Brooklyn has too many breweries. So much that some don’t really good breweries don’t survive, like KelSo, a maker of German and Czech style pilsners. But one has hung on on the northern tip of Greenpoint and bears the neighborhood’s name. While they survived the worst years of the pandemic, their beer selection has shifted more towards lagers and pilsners than the double IPAs and pale ales they used to make. But their quality and expertise comes through both on draft and in their cans. And they still have their kitchen in operation, which serves a great hot chicken sandwich, bratwurst and a massive 8oz burger.

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Sloop Brewing operates in a big concrete factory building where IBM machines and semiconductors used to be made. It’s in the middle of an industrial park in East Fishkill, New York, somewhere between Poughkeepsie.and West Point. Sloop has a simple philosophy: just make hazy juice bomb IPAs. There’s no juice in these ales, though. The juicy flavors come from the genetically-modified hop varieties. They can emulate flavors like kiwi, citrus, peach, grass, and various variations of bitter hops. Whenever I see a Sloop can available at a venue, I know I immediately have a first or second choice. It’s easier to get larger volume brews in my part of Manhattan, like New Belgium. But Sloop is more popular than ever.

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Five Boroughs Brewing Company has a diplomatic name, but they are based in Industry City, in Sunset Park, Brooklyn. Industry City is one of the nation’s first zoned industrial parks. The brewery is in a big, well ventilated warehouse building on 47th Street. With a wider selection than Greenpoint, I have to give the edge to Five Boroughs. They have summer and winter seasonal brews, as well as four core IPAs. I pledged my allegiance to IPAs in the early 2000s, and Five Boroughs is committed to that craft. I know the market for juicy hazy IPAs has cooled a little. But I’m sticking to the breweries that still develop them. I need to visit this taproom again this spring.

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And finally, I can’t mention great New York ales without including Other Half, now in it’s 11th year. I didn’t buy into the hype and the breweries cult status 10 years ago when white bankers and tech bros were buying these cans by the caseload at about $4 per 16oz can. But I came around in 2017 or so when they started their local home delivery service. The ales they make are close together on the flavor spectrum. Most are New England style IPAs. Some, like All Citra Everything, are a little sweeter. Others, like Green City, are a little creamier (and they are even made with oats). And some of their best ales, like Stacks On Stacks, strike that perfect balance between bitter and juicy. All of them are hazy. All of them represent the best of New York.

Thompson Twins Sure Had Some Weak Lyrics

Well here’s a post that’s more than 40 years late to the party. I first got the idea to do this post when I saw a standup bit about Spandau Ballet’s lyrics for their massive hit song, True, sometime around 2007 when this blog started. Imagine my surprise when, decades later, I learned that Gary Kemp wrote those nonsensical lyrics as a coded love letter to one of his peers, Scottish actress and signer Clare Grogan.

So true, funny how it seems
Always in time, but never in line for dreams
Head over heels when toe to toe
This is the sound of my soul
This is the sound
I bought a ticket to the world
But now I've come back again
Why do I find it hard to write the next line?
Oh I want the truth to be said

Okay, I said. There’s an explanation as to why True has such hilariously nonsensical lyrics. Fine. Moving on.

But there’s another New Wave band I can’t quite leave unmentioned in this blog. Its name is Thompson Twins. The British music press used to refer to them as The Three Haircuts. They were helped by their style, musical connections, and crucial airtime on MTV that cemented them as a significant synth-pop band of the 1980s. And I write this knowing that there are far more influential electronic bands of the era out there, mainly from the Industrial sub-genre and also in avant garde pop, which includes A Flock Of Seagulls, a much better band that I will get to in a future post.

Wikipedia led me down quite an amazing history of the band and those they have either worked with or met. Thomas Dolby. Robin Hitchcock. Alex Sadkin (and the whole Island Records family behind him - Grace Jones, Robert Palmer, Duran Duran, Nile Rodgers, Bob Marley and his eldest son, Ziggy).

Thompson Twins had some great things going for them in 1983. They had a hit single from the previous year that people remembered called In The Name Of Love.

On the heels of that hit in 1982, they and their manager secretly worked to cut the band from 7 members to 3, and shuttled the trio of Alanah Currie, Tom Bailey and Joe Leeway to Compass Point Studios in the Bahamas to make more hit singles with legendary Island Records producer Alex Sadkin. The next three years of their lives were about to get nuts. They were going to become stars with three quick albums, music videos, hit singles on the Billboard and BBC charts and even a messy Live Aid appearance in Philadelphia with Madonna and Steve Stevens. They even added a logo by British graphic designer Andy Airfix. It looked really good and was perfectly fitted to the early 80s.

The band as we remember it was formed in London. Tom Bailey was the singer, from Halifax, West Yorkshire. And the driver of this bus, it seemed, was Alanah Currie, the blonde percussionist and writer from New Zealand. She took on most lyric duties, which I’ll get to in a bit.

I remember exactly where I was in 1983 when they released their next two singles, Lies and Love On Your Side. I was at Whitman School in Brockton finishing fourth grade. I liked what I heard and saw, since the band fit right into the new generation of synthesizer bands. I particularly liked the bands diversity and the somewhat distinctive, almost drunken bass sound. I don’t think Joseph Martin Leeway gets enough credit for his use of an upright, fretless electric bass from 1983-1986. A very similar sounding bass appears in Thomas Dolby’s She Blinded Me With Science in 1983, and interestingly, it was played by Matthew Seligman, one of the four Twins members who was let go.

So here we have a band with the right look and sound for as many singles as they can deliver for the label. They had engineering and programming help from Thomas Dolby, who had been making money in the business since 1981 on Foreigner’s fourth album (“4”). They were just missing one key thing: consistently good lyrics. That’s one of their few weaknesses, and it has irked me for years. What brought this on is the numerous times I have compared Thompson Twins to their contemporaries in the synth-pop genre, particularly A Flock Of Seagulls, who in my analysis, did a little more with a little less. So let me dive into to some weak lines.

From Hold Me Now (1984)

You say I'm a dreamer, we're two of a kind
Both of us searching for some perfect world we know we'll never find
So perhaps I should leave here
Yeah, yeah, and go far away
But you know that there's nowhere that I'd rather be than with you here today

The video, by the way, is one of the best studio-shot music videos of the 1980s, up there with Killing Joke’s Love Like Blood.

The first verse of this smash hit is actually really good, depicting a couple that has their ups and downs. But things go off the rails in the second verse. We’re dreamers, fine. And then there’s this silly empty threat to run away. ‘Just kidding! I’d never do that. The perfect world is here babe, even though I just said we’ll never find it.’ Ugh, this is messy and weak. And yet the musical composition and mix makes it one of their best songs. In fact, if they didn’t have this smash hit, their shelf life would have been a lot shorter.

Moving on. The Gap (1984)

East is east, west is west
Two different colors on the map
We say break the line, chew the fat
Keep moving out into the gap

To a degree, I like the humor in this song. It’s inspired by 1,000 Nights with a sprinkle of good ‘ol T.E. Lawrence British imperialism, and it’s not not meant to be taken seriously. But I know poor lyrics when I hear them. Often it is better to be obtuse and weird than pull off this silly path to get to the title of the song. So, wait, this really is about geography?

And finally King For A Day (1985)

If I was king for just one day
I would give it all away
I would give it all away to be with you

If I was king for just one day
I have just one thing to say
You know what love is
All we need to get us through

Ugh. This is the culprit. This is the song that throws us a false scenario (like the 'I’m leaving, just kidding’ line, from Hold Me Now) and also a direct quote of a Beatles song. Plus it gives us a list of luxurious things the singer could have if he was king, but also a declaration that if he was king, he’d give it up for his love. I can’t deal with this. I gong this song. Into the trap door it goes. I don’t think I like a single verse of this song. It sucks.

Okay, I have written a lot and I’ve taken some big swings at a synth-pop band that has poor lyrics in 3 of their big hits. That’s not so bad, considering how many other bands of the era had bigger hits with poor lyrics. I guess what bothers me is that these were hits. Howard Jones had hits, from 1983 to 1989. Jones had smarter lyrics.

Did Thompson Twins have any good songs? Why yes, they did!

While I don’t love their minor 1983 hit, We Are Detective, the lyrics are good. They make sense and don’t annoy. It’s a whimsical, comical song inspired by The Adventures of Tintin, which I didn’t know in 1983 and I still don’t know now.

What’s that? The band name is also inspired by Tintin? The Thompson Twins are twin detectives in the comic? Someone really liked Tintin.

A Thompson Twins song I really like is Love On Your Side (1983). It’s simple, but it also isn’t. There is some slick, radio-friendly channel separation at work. This song has their trademark groovy bass, that sounds a bit like the bass synth in Human League’s Don’t You Want Me (1982). It has a chanting chorus and some good synth drums. It’s a little dark and self-deprecating. It’s about a guy who just isn’t going to win the one he desires. And -bonus- it references In The Name Of Love with a quick keyboard riff! It’s one of their very best tracks. It’s almost precisely 4 minutes long. “Rap, Boy, rap!”

Doctor! Doctor! (1984) is better still! I was a big fan of Dr. Who at the time, so that only helped matters. Silly lyrics, yes. Notice how the sung words start and stop. There’s very little flow. In many Thompson Twins songs, these starts and stops draw attention to how poor the lyrics are. But Doctor! Doctor! makes sense! There are stronger harmonies and backing vocals on this one as well, plus a real, genuine synthesizer solo (featuring a Oberheim OBX, I think). The drum machine / percussion sounds are from a Prophet 5.

While weaker, and hobbled a by use of the inappropriate Oriental Riff, Lies (1983) is still a good Twins hit. It was the single that came after Love on Your Side on their first of three biggest albums. Again, a chant-like chorus carries it. And it is somewhat fun. I will always like the line “Cleopatra died for Egypt, what a waste of time.” I never saw the video for this song. It’s a wacky homage to the final scene from 2001. It is weird! Is the band both in the bed and dancing around the room?

I’m saving the best for last. Their best song is probably Lay Your Hands On Me (1985). The first recorded version was okay. It has their trademark bass and that percussion tone that I think is a Prophet 5. So it sounds like a song from their 1984 record, like Hold Me Now. But Nile Rodgers was brought in to punch it up, and punch it up he did, with a guitar, some better layering and more backing vocals. This wasn’t just a hit, it was their last great original song. And I can say that with confidence as the other singles on their 1985 album were the awful Don’t Mess With Doctor Dream, King For A Day, and their worst song, You Killed The Clown.

Can I pause for a moment and say how much I hate You Killed The Clown? I think the dislike for clowns is pretty widespread, so the title alone is a strike against the song. When I first heard the song around 2002, devouring as much New Wave music as I could, I remember questioning the meaning. Did a Debbie Downer put a stop to the fun? Did someone put a stop to comedy at a party or on a night out? Well, the lyrics suggest that someone shot down a woman who was being funny. Someone shut down the girl who was about to become the life of the party:

Draped in silk gown
She danced around
She filled this place with her smile
She was the queen
Of an Amazon dream
She made us feel for a while

Was it from spite
Or just sheer delight
You stooped so low
I wanna know
Why you killed the clown
(Yeah) You shot her down

I watch you try
Try to make that girl cry
So you could be king for just one day
And you said that her smile
Was no more than a lie
Just because she had something, something to say

Was it from spite
Or just sheer delight
You stooped so low
I wanna know
Why you killed the clown
(Yeah) You shot her down

Yeah! Why did you shoot her down? And why did you make her cry so you could be king for a day? Ah, there goes Alanah Currie, referencing another bad song on the album! This band released their most successful trio of albums between 1983 and 1985. The last of that trilogy was terrible, aside from the great Lay Your Hands On Me. But the first two are their best. That wonderful bass and Prophet 5 is prevalent in so many of their songs from this trilogy. That’s their defining sound. That bass setup is overused, perhaps, but look at what they accomplished. They made four albums (half of which were good) and delivered over 10 hit singles in under four years. They toured. They played Live Aid in Philadelphia (while their close friend Thomas Dolby played keyboards for David Bowie at Wembley). Their sound and theme was consistent. They worked themselves to utter exhaustion (as young New Wave bands do). And then when Joe Leeway left the band, they carried on as a duo for 7 long years.

In the years that followed, I paid no attention to Thompson Twins, with one big exception. Their very good dance cover of Cole Porter’s Who Wants To Be A Millionaire was recorded around 1989, and was included on the excellent AIDS research and activism benefit album Red Hot + Blue.

Today, the Thompson Twins carry on with just lead man Tom Bailey touring and performing, occasionally joined by Thomas Dolby. They are touring together in this summer’s Totally Tubular Festival in the US.

The Partying Got A Wee Too Hot For Wellfleet

The collapse of western civilization has finally reached the Atlantic shore of Wellfleet Massachusetts. Oh well, pirates used to drink on the bay side of town, where hikers now test their endurance on the Great Island Trial. This will settle things, and Cape Cod society will go on for a little while longer before the rising Atlantic takes away the land.

We Have New Music Queens Now

One of the many discarded blog post ideas I’ve had over the last 15 years or so was a quick post about female pop stars in the mid 2000s. My post was going to make the case that Rihanna and Katy Perry are not as talented or as wildly creative as the stars we saw rise in the 1990s (Tori Amos, Fiona Apple), but they served their purpose for the present. They did the job, held the fort, and each gave us Super Bowl performances. But flash forward to 2023, and the pop landscape is very different. The best and most artistic artists are not on the big labels. Instead they are the independents. They probably always have been, but now in the streaming music era, they are so much easier to find, share, and mix together.

Lana Del Rey, Jessie Ware, FKA Twigs, Weyes Blood (Natalie Mering), and Caroline Polacek (“the girl in that band”) are not new in the music industry. They are all in their mid to late 30s. But they are the artists who are peaking right now to mark the next wave of greats. Several senior artists have guided them to greatness, particularly Enya. And in the case of Polacek and Wyse Blood, Brian Eno is also an influence. You can hear a lot of Eno in the guitar solo of Weyes Blood’s Mirror Forever and her last two albums overall. I also think Eno’s sound is found in the metallic guitar solo in Polacek’s Billions before Trinity School’s choir (out of Croydon, London) takes us home to close the album. It is May, and I still have Billions down as my best song of 2023, three months after it was officially released.

Natalie Mering admits Eno was on her mind when she made her 2019 album, Titanic Rising. As she explained to the Australian Broadcasting Company:

We created a mood board, which was a picture of the Titanic with Brian Ferry on the stern and Brian Eno on the hull of the ship. It was rising out of the water like a phoenix from the ashes.

Many critics picked-up on the Eno-like sounds and techniques, as AllMusic did:

Here she underscores enormously orchestrated pop songs with eerie experimental ambience, imagining a dreamworld where Joni Mitchell's late-'70s output was produced by Brian Eno.

Titanic Rising was more than a signer-songwriter project. Mering is a co-producer and she made sure her album had digital effects and soundscapes. Working with Jonathan Rado, she added a layer of psychedelic elements, walking the tightrope between futuristic and retro vinyl and cassette sounds. Her reluctant love song Andromeda even opens with the simulated sound of a damaged cassette tape. That sonic direction continues with her latest album and will likely continue with her next, which will close-out a planned trilogy of records for our dark, turbulent times.

While FKA Twigs is working on her new, possibly more commercial album, we must acknowledge the triumph of her second full length album, Magdalene (2019), which helped make 2019 a pivotal year for women music artists. 2019 was also the breakthrough year for Caroline Polachek and Weyes Blood, who seem to recognize this and are now contemplating working together on a song. The year before the pandemic was a like a big bang for this new music. We got a buch of incredible songs like Cellophane, Daybed, Ocean Of Tears, Door, Movies and Wild Time. And now, women in their 30s, who cite Enya as a influence, rule the streaming playlists.

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Weyes Blood at KEXP studios, August 2019.

Reigns by IDLES Is The Best Anti-Monarchy Song In Decades

This is for you, United Kingdom. You will one day dispose of your monarchy. But not tomorrow.

Not since the great anti-Thatcher and anti-Queen songs of late 1970s and early 1980s has there been a more blistering rant against the way the UK is run and by whom. The Smiths’ The Queen Is Dead (1986) and a line in Blur’s This Is A Low (1994) do come close as the last great songs that fit this definition.

I never heard of IDLES until this year. And fuck me, they are opening for LCD Soundsystem this June at Forest Hills Stadium - a show I have so far decided to skip because at the time, I was like, who are IDLES? Lesson learned. IDLES is a good left-wing neo-punk band. Tickets for that show are still available.

Lyrics:

How does it feel to have blue blood coursing through your veins?

How does it feel to have blue blood coursing through your veins?

How does it feel to have blue blood coursing through your veins?

How does it feel to have blue blood coursing through your veins?

Huh?

Pull on my reigns

Pull on my reigns

How does it feel to have shanked the working classes into dust?

How does it feel to have shanked the working classes into dust?

How does it feel to have won the war that nobody wants?

How does it feel to have won the war that nobody wants?

Huh?

Pull on my reigns

Pull on my reigns

Pull on my reigns

Pull on my reigns

How does it feel

How does it feel

How does it feel

How does it feel

Reigns

Pull on my reigns

Pull on my reigns

Pull on my reigns

The USA Has Locked-In Its Madness

Here is a question for all the leftists and real liberals out there: Who wants to quit their day job and run for a school board, city/town/county council, community board or some other small local government seat?

Anyone?

Well, thanks a fucking lot, you lazy bums, because very disturbed people with lots of time on their hands are taking those seats, right now.

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I have seen some mighty conspiracy theories in my time in the USA, which spans everything since Nixon. But it is becoming increasingly clear that QAnon is the most significant since 1973. It encompasses so many former conspiracies like ZOG, the UN, black helicopters and the New World Order. QAnon is massive. It has gone global. It’s so big, it’s a political movement fueled by its own bundle of conspiracy theories, all twisting to and from each other.

It is the Q faithful who are running for local seats. In red states. In blue states. In colonies. Everywhere in the USA, and especially in school board elections. It is locking in the madness. In the choice between normal and crazy, the US has chosen the latter. The US has always lost its mind. But it seems to be so far gone now. We’re being radicalized whether we know it or not.

Sarah Huckabee Sanders’ State of the Union response had more than a few subtle references to QAnon. And while we now have students who can accurately say they have attended both a high school and a university where a high-profile mass shooting has taken place, the QAnon fanatics are on a mission to make sure that students are not taught history nor enjoy the freedom to be themselves. Shootings? Screw that. They want the children to be taught that white people are nothing but good, and that Democrats and Jews are demonic killers of children.

The madness is locked-in. There’s no getting out. Unless, you, good Liberal reader, want to run for your local school board. But you value your life, bank account, sanity and your time. The people now taking those seats do not.

Thoughts On My Music Festival Travels In 2022

July 2022 was a fun and exhausting month for me. I left NYC and came back knowing new recording artists and being more tanned. I was almond colored. I successfully attended two major summer music festivals: the one-day Palomino country and folk festival at the Rose Bowl golf course, and the Newport Folk Festival in Newport Rhode Island.

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2022 Palomino Festival

The inaugural Palomino festival was a one-day country, folk and blues music festival on Saturday July 9, organized by Goldenvoice, the same people behind the much larger Coachella and Stagecoach festivals in the desert of Indio, California. I decided to go to Palomino because the 2022 edition of the Newport Folk Festival was not securing any fun, big name acts (in the end, Newport got a few, which I will explain later). Palomino would be my opportunity to see party boy Paul Cauthen, Saskatchewan cowboy crooner Orville Peck, and folk greats Old Crow Medicine Show and Jason Isbell.

Here are some of the artists I enjoyed.

Country does not need another fat dude singing about cocaine and champagne. But Paul Cauthen of east Texas brings it. And he has a good voice.

Zach Bryan was a late addition to the festival, and I didn’t appreciate him at the show as much as I love him now. This young son of Navy parents served in the Navy himself for most of his 20s and is now cranking out well written songs like Something In The Orange, and this instant classic, Godspeed.

Orville Peck is like Roy Orbison. He has a strong, memorable voice. He's not taken too seriously. He prefers to be anonymous. But people who follow him know he has one of the best voices in country music.

I finally saw a Willie Nelson set. Willie at age 89 can still play guitar very well and sing at about 70% of his 1970s prime voice. He was flanked by his sons Lukas (who we have seen many times in Newport and New York) and Micah (who we saw open for Midland in September 2019.). I liked Willie so much, I saw him do another set at Central Park Summerstage in Septeber. I know now every Willie Nelson set starts with Whiskey River.

Jason Isbell knows how to write a great song. If We Were Vampires is probably the saddest English language love song this century.

The festival itself was not the best organized. It wasn't clear where to park. The food truck lines were long. They ran out of craft beer before I could try Ride On IPA by Golden Road brewing. But the music setup was perfect. A band would play one stage, and the second they ended, the next band would start playing at the stage next door, about 400 feet away. And they perfectly alternated and remained on-time.

As we drove back to our guest house in San Gabriel Valley, we turned onto our street and saw a really cute coyote trotting across. Our route home from the Rose Bowl to San Gabriel Valley included historic downtown Pasadena.

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2022 Newport Folk Festival

The marathon, three day Newport Folk Festival didn't have as much star power in 2022. I theorize that newer festivals like Palomino offered artists more money. Add the fact that just about every artist and band is touring this year and competing for venues, and you have quite a minefield of conflicts and missed connections.

My partner was trying to enjoy the Newport festival and prepare for a professional certification exam that Monday (the day after the festival wrapped) so it was difficult to see many acts nor enjoy the show very much. But we saw 40-50 minute sets by the following artists.

On Friday we caught Arooj Aftab, Bela Fleck, Taj Mahal, and Cortney Barnett.

On Saturday we saw Lucy Dacus, Clairo, Langhorne Slim, and Lucius.

On Sunday, we saw the excellent Hermanos Gutiérrez, Valerie June, Sylvan Esso, The Roots and the finale, Brandi Carlile and friends with Joni Mitchell.

Two sets really stood out in the final hours: Sylvan Esso and The Roots. Sylvan Esso is an electronic husband and wife duo from Durham who somehow make dance music that is folk-adjacent, thanks in large part to the dense lyrics. We liked them so much, we caught their show at Forest Hills Stadium in August.

The Roots, let by drummer Questlove, were on fire. They brought a big fun set that filled the fort with beats and a lot of energy. “Do you want more!,” shouted out Black Thought. I wish they had played another 20 minutes.

After the Roots played, a cold, dirty fog rolled in. While it put a stop to the super hot sun, it was an unwelcome change as we were not dressed for such a drop in temperature and rise in dirtiness. A wet film covered us. It was gross.

And that final set was uncomfortable. Let me explain.

It felt like I was seeing a contrived, forced event. It also felt mildly exploitative.

It started out well. Brandi Carlile -who has become the captain of the festival in recent years- played her own short set, and it was great. She then told the crowd to hold tight for the set to follow.

About 20 minutes later, Carlile returned to the stage, in front of a living room set of chairs, sofas and tables. She explained that since 2018, she's been invited to Joni Mitchell’s house in Laurel Canyon to perform songs with other artists while Joni holds court. It was a nervous affair for all the invitees and until 2022, it was sort of a secret society. Brandi and the festival decided it was a good idea to fly Joni out to Newport to recreate what happens in the Hollywood Hills.

Well, I don't think that was a good idea.

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But I admit, the first half of the set was a small miracle. Joni didn't sing all the songs. The artists surrounding her were singing more to Joni than to the audience. But we can say accurately that this was Joni's longest set since June 2000. With an unknown amount of rehearsal, the ensemble plus Joni delivered Carey, Come In Form The Cold, Help Me, A Case Of You, Big Yellow Taxi, and Just Like This Train, complete with a surprising guitar instrumental by Joni herself that showed off her unorthodox strumming style (a result of suffering from polio as a child).

The second half of the set, punctuated by what I consider to be black American standards, lost of lot of momentum and energy, became awkward, and began to feel like a memorial service. It didn't help that Wynona Judd sort of hung there over everything. She sat in the back, probably still grieving over her mother. Judd was supposed to sing with Joni on the final song, The Circle Game, but I noticed that Judd seemed to change her mind and go back to her seat. Everyone was afraid of stepping on Joni's lines.

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Which reminds me, in the first half of the set, when Joni started to sing in the middle of one of the early songs, Brandi Carlile exclaimed, "She's on, guys!" Does that mean there was a chance that Joni wouldn't be on? I cringed.

The cold fog had already rolled in after the red hot set by The Roots. But by 7pm, everyone was clammy, dirty and cold. As it wound down, the set we were treated to felt like Joni's funeral. The magic happened in the first half of the set. During the second half, I regretted choosing Brandi Carlile and Joni Mitchell over Japanese Breakfast (who were playing inside the fort quadrangle).

This is terrible, but as the set wrapped, I had this thought that Joni might not live to see California again. I felt she was fading before our eyes.

I think the 2023 Newport Folk Festival can only be better given how that ended.

My Mask Strategy Is Not Changing

I will have a mask supply for life.

There are a lot of reasons we let this pandemic win. But one of the big reasons is we let a minority of crybabies frame mask wearing as some sort of punishment. Masks have saved lives. Masks are cool. Mask wearing reduces the number of common colds we get. Mask wearing prevents the transmission of influenza and exotic animal diseases like, oh, SARS, a virus family that has now killed millions of people. Masks allow us to go to shops, and go out and live life a little during a pandemic. Most of all, masks work. They were the only tool we had during the 1918-1920 influenza pandemic. They were all we had before we had the mRNA vaccines in late 2020. The fact that people cheered when a judge killed the mask mandates on domestic flights demonstrates how we shifted our thinking in two years. We’re no better than the thugs who stormed the Capitol. We’re part of the decline of this nation.

Study after study shows that wearing a mask cuts the wearer’s infection risk by at least 50%. I think it is greater than that. And a lot of the early air travel studies didn’t take into account that transmission is more likely at the gate and during the boarding process than in the cabin itself (which itself is not as low risk as the industry says - remember how many times you caught a cold after a flight?).

The WHO and Pfizer seem to have a consensus. We are in the second half of a 4-year pandemic. This seems correct to me. We need to get through a winter without a big wave. Pfizer estimates that the pandemic will become an endemic in early 2024. People deny that COVID-19 is a serious disease. People think that this was all a plot by Pfizer to make billions. But I believe Pfizer. They have not yet been proven incorrect on this virus. And COIVD-19 is still an exotic bat disease you do not want to catch.

Analyzing 40 Years Of Tears For Fears

On February 25, the world got a new album by Tears For Fears. The Tipping Point is the band’s seventh studio album, and not surprisingly, it is very good.

Tears For Fears don't have a single poor album. My favorite TFF albums continue to be The Hurting (1983) and Elemental (1993). I also defend Everybody Loves A Happy Ending (2004), with its powerful Brian Wilson style production. I knew Roland Orzabal and Curt Smith, our boys from Bath, wouldn't come back with a studio album unless they had something important to say. I didn’t realize that they have been actively playing shows since 2004. They stepped-up their live shows and set list for a lot of outdoor, warm weather UK shows in the years before the pandemic. Both Curt and Roland have personal things to air out on this possible final album. There are some beautiful moments on The Tipping Point, and I would rank it along with Sowing The Seeds Of Love (1989) and Raoul And The Kings Of Spain (1995) as a solid, contemplative TFF album.

In 1990, I read stories saying that these guys were done. Curt wanted out of the band before the Seeds Of Love tour even began. But here we are 31 years later with 4 more albums, bringing the total to 7. Seeing the TFF songbook expand to nearly 100 songs is a great achievement. Not bad for two men who were seen as more sensitive and sadder than their contemporaries Duran Duran, XTC, The Psychedelic Furs, Talk Talk and Simple Minds, who filled arenas with their thoughtful, romantic pop.

I wasn’t going to do a ranked list. This is not a music blog. I don’t do rankings. But screw it! Let’s do this!

Here are all 7 Tears For Fears studio albums, ranked how I, Mister Sterling, see them.

Oh, but first! Something has to be acknowledged. A lot of their material is inspired by the late American psychologist, Arthur Janov, specifically his book, The Primal Scream and his development of primal therapy. Considering that Dr. Janov became a bit of a celebrity psychologist to famous people like John Lennon, I have a theory as well. I don’t think highly of Freudian theory, and primal theory was a revival of that. But I acknowledge that in the 1970s and 1980s, that second look at Freud helped inspire some good art and art criticism. I had a professor who made me view Italian Neorealism through a Freudian lens, and it proved to add a layer of entertainment and discussion, and very little else.

Since Roland Orzabal has written songs either adjacent to or inspired by The Primal Scream, we can conclude that the book had a profound influence on his life. The Primal Scream inspired the band’s name, and most of the tracks on their debut album. (Interestingly it didn’t inspire Shout - that’s just a good protest song).

I notice two things. First, we all go through phases of being influenced by media (the smart among us, anyway). The Primal Scream is the big bang that gave us Tears For Fears, but it didn’t remain the inspiration for their songs after their first two albums. Second, flawed inspiration or not, it set the tone for Tears For Fears as an emotionally-charged band. Some of their songs make me and millions of others cry. These boys broke from the chains of English society in which young men are seen and not heard (and girls fare even worse, of course). These boys were going to put their feelings out there. They presented themselves as university students in sweaters (“jumpers” as the British call them). Visually they looked like conformists, but they were anything but. They were and remain understated, sensitive rebels, much like their contemporary from Manchester, Morrissey. And well, isn’t that very English?

7. The Tipping Point (2022)

Wait, didn’t I just say that The Tipping Point is very good? It is. It’s also the album in the band’s discography I don’t see myself going back to often. Like I wrote above, Roland and Curt wouldn’t record new songs unless they had something important to say. Tears For Fears is a project that juxtaposes memorable well crafted music with serious, sometimes depressing subject matter. As usual, it’s Roland who has the most to share, as he is the primary lyricist on all TFF albums. On Tipping Point, he brings at least three (and arguably four) songs about his late wife, Caroline, to whom he was married for nearly 35 years.

There is not a bad song on this, or any Tears For Fears album. That can be a problem if you are trying to rank them. But The Tipping Point is mainly a personal affair. Roland has important things he wants to air out. Rivers Of Mercy and Please Be Happy form the emotional core of this album. I think Rivers Of Mercy is fantastic.

The most fun track on the album is My Demons. They could have leaned into a more 80s synth sound, but that would have made the song trendy. This final version will hold up.

The title track, which was released in September 2021, was a clear signal that Tears For Fears were not messing around. After touring together off and on since 2004 or so, it was time to record some new songs. This is a great song, true to the band’s roots.

The pair have said that there were more songs recorded with up and coming producers dating back to 2019 or so, but Roland and Curt rejected most of them. I’d be curious to know how those sounded. Maybe they have some remnants that can go into an eighth album. They are not done yet.

6. The Seeds Of Love (1989)

This album has two great songs: Woman In Chains and Advice For The Young At Heart. But I rank it low, because again. when I judge a discography this strong, some good albums aren’t going to make my top three.

In August 1989 this album’s lead single blazed across FM radio stations and on MTV. The band’s third studio album belongs to a shortlist of albums that were made to show off the CD format. Albums like Brothers in Arms and So were big sellers in the relatively new format, as was Songs From The Big Chair and this album.

Even though the production of this album was aimed for pristine CD sound, every album by Tears for Fears is under 51 minutes. This allows all of their albums to be pressed on a standard, two sided vinyl LP. And The Seeds Of Love was arranged with this in mind. It has four songs on each side, with side B being the less commercial side. But make no mistake, this whole album is a blend of two styles of pop. First, it is a Brian Wilson-inspired sound that brings Tears For Fears close to the sound of The Beatles, The Beach Boys and XTC (who had their sonically bright album Oranges And Lemons that same year).

But, second, let’s tackle the core of this album. This is the band’s ‘quiet storm’ album. Side B has moments that sound like Sade (her band, which is also called Sade). There are also elements soul, such as the self deprecating Bad Man’s Song on Side A. That piece was inspired by Orzabal overhearing tour crew members speaking very negatively of him.

The Seeds Of Love has a magnificent soundstage. You want to play this on a high end home system, through wood and Kevlar speakers that themselves recreate the big stage. The album sounds like a live performance.

It has to be said that Side A is just about perfect. Tears For Fears being the downers that they are, the album begins with Woman In Chains, which is one of their very best tracks. It was the second single from the album. Phil Collins delivers a restrained performance on drums and the song introduces the world to the voice of Oleta Adams. I know exactly where I was in my life when I first saw this video on MTV in November 1989.

Bad Man’s Song, the second track on the album, is very complex. It starts as a jazz track, with piano and drums, then abruptly shifts to country style with the opening verse. And then it settles to a blend of jazz, soul and even some gospel. You have to wait for the hook. But by the time you get to it, the song is in full Quiet Storm mode; a blend of soul and jazz. It’s weird and good. Just listen to that production and mix.

Go big or go home with the lead single. Sowing The Seeds Of Love is the third track. Very few songs to ever reach the top of the Billboard Hot 100 are this layered, big sounding and complex. In terms of similar songs from the same year, I like XTC’s King For A Day and even Elvis Costello’s Veronica better. But this song is a lush, retro mid-60s style hit number one in the USA the same year Madonna, Richard Marx, Janet Jackson and Bobby Brown topped the same Hot 100 chart.

I will point out that Sowing The Seeds Of Love wasn’t entirely alone at the top of the charts that year. Good Thing by Fine Young Cannibals had a retro, early 1960s style.

The final song on Side A, and third single from the album, Advice For The Young At Heart, is a jazz song. It’s also another songwriting triumph. It’s beautiful. And it could have been the last single from the band, or the last single to have Curt on lead vocals. Miraculously it was neither.

The production of Seeds Of Love cost more than twice what the boys expected. They went through three producers, including their friend Chris Hughes, who had produced Songs From The Big Chair. In the end they re-recorded the album themselves, self-produced in their own studio. The final cost was over £1 Million. In today’s dollars, that’s over £2.5 Million. You can hear the money.

5. Everyone Loves A Happy Ending (2004)

This is the previous time Roland and Curt got together in the studio to make a final statement. That’s now 18 years ago, and a new final statement is available for the world to listen. In a way, this album a direct sequel to The Seeds Of Love, thanks to its wonderful, lush production inspired by Brian Wilson and The Beatles. Perhaps Roland decided to make a bright pop album to celebrate the return of Curt. Or maybe he thought that The Seeds Of Love deserved a sequel. But, as we shall see, he took Tears For Fears to exciting new places with the two albums he led on his own. This album was a return to a 1960s sound, but my no means a regression.

I think most fans like this album, but don’t love it. I myself haven’t memorized the title of every song. But what I do know is that it is a more complete album than The Seeds Of Love. The themes and musical styles come together better, and it’s more consistent. It was made under the assumption that it could be their last studio album (hence, the “ending.”). Roland was tired of label executives asking him to reunite with Curt. Over the years, they continued to meet with their lawyers and accountants for business reasons, like signing legal papers, and reviewing royalties and revenue sharing. Eventually, they started talking to each other, and the musical partnership resumed, and that’s the happy ending the label and fans wanted.

Orzabal stuck with producer Tim Palmer, making this their third consecutive Tears For Fears album together. This means that Curt was rejoining a band that changed its studio and production team two years after he left it.

I remember spinning the CD the day it was released, and it was a tense listen. I didn’t want one of my favorite bands to release a poor album when they didn’t have to release an album at all. The music critics at the time were fawning over The White Stripes and Interpol. Tears For Fears could have just done a greatest hits tour. But they gave us a new album that was better than The Seeds Of Love. The backing personnel had changed since 1989, but Roland and Curt continued to mature and grow as artists.

This album demands a full play, start to finish. It features bright songs that evoke movement, and feature a lot of guitar and drums. For example, I really like Killing With Kindness. I’m sure the boys like Thomas Dolby, but Killing With Kindness includes the line, “Don’t blind them with science.” I get a kick out of that reference to a fellow New Wave artist.

The brightest and perhaps best song on the album is Call Me Mellow. Here, Orzabal and company nail that mid 1960s sound they had been chasing. This is beautiful and a bit psychedelic. Keen musicians will also note that there is a harmony of G, D, C# in the chorus, much like There She Goes by the La’s. Roland is transparent in his borrowing, but he backs it up with well composed and arranged music.

Secret World is yet another bright mid-1960s style song, complete with a horn section. The band continue to play this live in 2022. I think what makes this album so good is that all the songs have good structure. They have memorable choruses, good bridges, and are all under 6 minutes long.

On Size Of Sorrow, we get a solid Tears For Fears song. This could have been a track off of Roland’s albums from the previous decade. It’s a melancholy song about the band. They “borrow” styles from artists who came before. They know they can’t match their “high wire” days of 1985 to 1989. Yeah, this is about them.

Ladybird is a great, sad number about aging, I think. It’s very XTC with its Beatles sound and powerful chorus:

Ladybird fly away our friends are gone
Ladybird fly away our house is on fire

That chorus was written by Curt well before he rejoined the band. He presented it to Roland Orzabal and Chris Hughes, and Roland had the verses done in just a few hours.

Curt borrowed from the classic, dark English nursery rhyme, Ladybird Ladybird:

Ladybird, ladybird fly away home,

Your house is on fire and your children are gone

The album’s closer is appropriately titled Last Days On Earth. I think it has a groovy 1970s soul bass line. I certainly thought this was finally the end. Roland and Curt were well into their forties. But they were friends again, or at least working partners. This felt like closure.

4. Raoul And The Kings Of Spain (1995)

I like to think of Tears For Fears in the 1990s as being a band in exile. Curt has left the band and is living in Los Angeles. Most fans have put their cassettes and CDs into a bookcase and have moved on, listening to grunge, “alternative,” or adult contemporary tunes. Roland took his time to build a home studio and retained rights to use the Tears For Fears name (sort of a Roger Waters situation, but if Waters actually recorded and toured as Pink Floyd after 1983). I had no idea if the door for Curt to return was open or closed. And probably neither did Roland. He just carried on and did exactly what he did on The Seeds Of Love. He hired a band. He produced and arranged the music. He let his influences guide him through two albums.

Raoul And The Kings Of Spain is the second of those albums, recorded in 1994 and released in 1995 with the same personnel as Elemental (1993). This is a very personal album for Roland -his most personal until The Tipping Point (2022). He explores his Spanish and Basque heritage (on his father’s side). Don’t expect many happy songs with hooks here. Roland looks inward here. But some of the songs are simply gorgeous.

God’s Mistake has the chorus, “Love is God’s mistake.” Not pulling punches on this catchy number. Notice how Roland was at his vocal peak. He could almost make himself sound like Curt. The lyrics include the words paradigm and pantomime. I don’t think you’ll find those words together in any other song.

Sketches Of Pain. It's Folk and country in style, with a strong dose of flamenco. The title is a play on “Sketches Of Spain,” perhaps?

Secrets totally fits as a Tears For Fears song, both lyrically and musically.

And the album closes with the magnificent Me And My Big Ideas. It has lament, reflection, humility, and the return of Oleta Adams, who Orzabal was working with on her solo albums in the 1990s. When I heard this track, I thought this was the end of the band. It was yet another perfect final album track.

Oh, this album ends with a reprise of a song that appears earlier on the album - Los reyes Católicos. What was that I said about filler and artists highlighting their own work? Still fine. I rank this album high for having a huge heart.

3. Elemental (1993)

Elemental continues to stun me as a near perfect pop album. This is also the album that made me a Tears For Fears fan, after 8 years resisting them. I was working as an unpaid intern at WBCN radio in Boston when this album came out. Of the six or so DJs who worked the classic late 80s/early 90s rotation at that station, one of them, Mark Parenteau, recommended the new Tears For Fears album more than once on-air. Tears For Fears had no chance of being played on WBCN in 1993. Songs in heavy rotation during my first few weeks at the station included Pets, Creep, the other Creep, Plush, and No Rain. But by the end of that summer, the two new CDs I wanted to bring with me for my third year at University were Robert Plant’s Fate Of Nations, and this one (oh, and Songs Of Faith And Devotion by Depeche Mode!).

What makes Elemental a triumph? Roland Orzabal took full control. He wasn’t going to bend to trends or what was hot in pop music in 1992. He was going to ignore techno, trance and grunge. He knew the new album would struggle to go gold (which it did). He knew MTV wasn’t going to play any videos. And he knew that it was too soon for people to want to hear his songs from the 1980s (except, apparently, the audience in Bogotá, which depressed him). So he assembled an all new band and production team, led by Alan Griffiths and Tim Palmer. The latter mixed Pearl Jam’s debut album and became a fine producer himself starting with Elemental.

This album has peaks and valleys. It takes us somewhere. It has payoffs. I won’t link to every track, but anyone who likes Tears For Fears who has never listened to this album needs to sit down and give it a chance. It’s every bit as good as the albums that follow it in my ranking. This is the Tears For Fears podium -the top three.

The first three songs set the tone. This is the new Tears For Fears, and it’s on these tracks you clearly notice Curt is not there. But Roland’s electric guitars are back for the first time since Songs From The Big Chair.

The following three songs bring things down to a simmer, but they are still all very good. Notably, Fish Out Of Water is about Curt leaving the band. Roland even included it in the Elemental tour set list. Curt really took that jab well. He has said on numerous occasions that he found it funny. What a good sport. The guy has had to deal with Roland’s dominating personality and excessive creative control for decades.

The seventh track, Gas Giants, is a bass-synth heavy instrumental that signals the album’s final third. And what follows are three songs, two of which are among my very favorites from Tears For Fears.

Power is a power pop song about, well, power. And while the lyrics dance around the topic, I think it’s a highlight of the TFF songbook. Just when you thought this album was winding down, it hits you with this.

The Goodnight Song is a great country song about performing music live in front of an audience. That’s both corny and on the nose for a final song on an album. But there is a reason so many people think that not only is this a great Tears For Fears song, but it’s an underrated highlight of the 1990s. It’s wonderfully made, has a hook, and a guitar solo closes it. In this final track, I think Roland was trying to sound like Curt in the second verse. He had me fooled for a moment.

When the new Tears For Fears hit the road in the summer of 1993, songs were already written for the next album, Raoul And The Kings Of Spain. Orzabal would simply have the same crew reconvene in his studio to record the next album. Tears For Fears the band was not just alive, it was going thorough the busiest period of its existence. Roland was driving this bus, and he delivered two albums, one of which might be his career peak.

2. The Hurting (1983)

The Hurting is a bold debut album. The Hurting is as much a pop album than a depressing diary of a young man. It arguably has breakup songs, or perhaps those songs are about being abandoned by one’s parents (“you don’t give me love”). But it doesn’t have a single love song. It’s a downer, and it’s my favorite Tears For Fears album.

I’m a closeted goth. No, the music isn’t goth. But how can I not love this album? It is such a downer.

Recorded in 1982 and released in 1983, The Hurting is a snapshot of two young men and their nation in a particularly bleak moment in time. It is the time of Thatcherism, a made-up word with a very real history behind it. It’s the history of austerity being sold to people as an improvement over a previous political regime. But the austerity actually brought more sadness and social destruction. This is the backdrop of The Hurting.

At the age of 20 or 21, living in a flat above a pizzeria, probably lying on his bed or sofa, an unemployed Roland Orbazal wrote these extraordinary lyrics while watching people walk and drive by.

All around me are familiar faces
Worn out places, worn out faces
Bright and early for the daily races
Going nowhere, going nowhere

Their tears are filling up their glasses
No expression, no expression
Hide my head, I wanna drown my sorrow
No tomorrow, no tomorrow

And I find it kind of funny
I find it kind of sad
The dreams in which I'm dying
Are the best I've ever had
I find it hard to tell you
I find it hard to take
When people run in circles it's a very, very
Mad world, mad world

Children waiting for the day they feel good
Happy birthday, happy birthday
And I feel the way that every child should
Sit and listen, sit and listen

Went to school and I was very nervous
No one knew me, no one knew me
Hello, teacher! Tell me, what's my lesson?
Look right through me, look right through me

And I find it kind of funny
I find it kind of sad
The dreams in which I'm dying
Are the best I've ever had
I find it hard to tell you
I find it hard to take
When people run in circles it's a very, very
Mad world, mad world

Enlarging your world
Mad world

This is their first single. Curt sang the vocals. They had low expectations. Mercury, the record label, had low expectations. At least the label hired Depeche Mode’s director to shoot the music video. This song went to to number three on the UK pop chart on Halloween, 1982! Number three! And it stayed there for three weeks, not far from smash hits like Pass The Dutchie, and Do You Really Want To Hurt Me (both of which went to number one!). A note about those: New Wave included some reggae and both of those chart toppers are reggae songs. Eddie Grant’s Electric Avenue would be released just weeks later.

And with that, Tears For Fears was born.

The Hurting is equal parts finished songs and equal parts experimental or undercooked songs. But collectively it is a landmark album and quite listenable. The boys and their producer couldn’t replicate an electronic band like Depeche Mode or Yazoo, but we hear them trying a few different things.

Curt Smith was given signing duties for the most catchy songs, Mad World, Pale Shelter and Change. But there isn’t a single happy song on this album.

When you don't give me love (You gave me pale shelter)
You don't give me love (you give me cold hands)
And I can't operate on this failure
When all I want to be is
Completely in command

The Hurting is one of the greatest debut albums of all time. It launched Tears For Fears into a most crowded market of New Wave artists. U2, Simple Minds, Talk Talk, Duran Duran, INXS, The Psychedelic Furs, Echo & the Bunnymen, Missing Persons, REM, Depeche Mode, Talking Heads, The Human League, Heaven 17, The Cure, OMD, Pet Shop Boys, New Order, A Flock Of Seagulls, Thompson Twins, Adam Ant, XTC, Eurythmics, Gary Numan, Culture Club, The Police and so many others were already established. Most were already on their second or third albums (or more). But we consider Tears For Fears to be in that class. They (and Erasure, I guess) got in towards the end of the “Second British invasion.”

And yet (yet!) The Hurting is not even the best debut album of 1983. Incredible! That title goes to The Script Of The Bridge by The Chameleons. A very crowded market, indeed.

I love the long synth and drum machine outro to Memories Fade. This ends side A.

The Hurting LP is 10 songs, with 5 songs per side. Side B is pretty damn serious and shows a songwriter who is more mature than his age suggests. Suffer The Children is sung to a parent, presumably older than Orzabal. Maybe his single mom. It has perhaps the best written and sung chorus on the album.

And all this time he's been getting you down
You ought to pick him up when there's no one around
And convince him
Just talk to him
'cause he knows in his heart you won't be home soon
He's an only child in an only room
And he's dependent on you
Oh he's dependent on you

That’s Orbazal’s wife Caroline singing the La La La part.

With the next track, Watch Me Bleed, the doom doesn’t stop.

It’s important to finish strong. I think Roland lives by this rule, because The Start Of The Breakdown might be the best composition on the album, and includes either a grand piano or a piano synth (a Roland Jupiter? A Prophet T8?) a real drum kit, and an extended instrumental section with a drum solo to close it. The song is about Roland’s father, who physically and emotionally abused Roland’s mother, had arterial scoliosis (“ice in the vein”), and suffered a nervous breakdown. Orzabal’s mother would soon move out of the house with her three boys and raise them alone in Bath.

Mercury Records wanted more from this band, and fast. They knew Roland was developing a new song called Head Over Heels, but it wasn’t ready. And while the label pressured Roland and Curt to have a second album ready for 1984, they got the boys to release a cut track, The Way You Are, to hold fans over while Songs From The Big Chair was being developed. They toured. They took extra months to make their masterpiece. And then they toured again. No wonder they were too exhausted to play Live Aid on a day off in their summer 1985 tour.

1. Songs From The Big Chair (1985)

I didn’t want this to be my number one. Nope. I really wanted to put The Hurting here.

However, I gave Songs From The Big Chair two full listens for this blog post. I had never listened to this album twice in a day, and I hadn’t played it in probably 12 years, because I feel it is their best known and most overplayed work. But after serious listens, I have a new judgement of this album. I heard things I hadn’t noticed nor appreciated before. Things like the Fairlight CMI in Shout. Sure I have heard the song dozens of times, but hearing it in 2022 let me think back and connect the dots. I first heard the Fairlight CMI on Peter Gabriel’s Security Album in 1982, and then Herbie Hancock’s Rockit album in 1983. By 1984, it was everywhere, even in hair metal. Phil Collins even dissed it. But you know what? The Farlight rules. Shout is also one of the few protest songs to chart in the 1980s.

Once they get that out of the way, what’s the second song? The Working Hour, which is 6 and a half minutes. Roland is so proud of this song, he still includes it in live set lists and almost named the album after it. Listen to that production and big budget mix. Remind you of another artist? Here’s a hint: he’s also from Bath. Yes, this is a very Peter Gabriel song for me. It’s like a cousin of Red Rain, with its grand piano and wide stereo sound (but Gabriel liked the Yamaha and Roland piano synths, right?). Jerry Marotta plays both drums and keyboards on The Working Hour. Perhaps just weeks after this album was released, Marotta would lay down the drum tracks for Red Rain (with Stewart Copeland performing the cymbals and high hat). This album makes the case for greatness with just its second track.

But you know what’s coming next. Track # 3. Everybody Wants To Rule The World. Could this be the best pop song of 1985? If not this, then what? Raspberry Beret? Sussudio? I Feel For You? Take On Me? Money For Nothing? Don’t You (Forget About Me)? Everything She Wants? The Boys Of Summer? In 1985 you had so much to choose from. But this stays in the mixtape. How can it not? Shit, the 1985 mixtape has to start with this song.

Side A ends with Mother’s Talk. It’s fine. Compared to what came before, it’s a little lazy. It has a dash of primal theory. Play it through and turn that LP over. And then prepare for a dramatic shift.

Hope you got your dancing done on Side A. Because Side B starts with one of my very favorite Tears For Fears songs. At first glance, it might be an optimistic tune. It’s called “I Believe.” Hey guys, Roland believes in something! And then you listen to the words. and it is a marvelous punch in the gut:

That's why I believe it is too late for anyone to believe

Or how about the end?

And I believe, no I can't believe that every time you hear a newborn scream
You just can't see the shaping of a life
The shaping of a life
It's too late

Primal theory again, there.

Roland delivers some of his very best vocals, backed by a grand piano, a drum kit and a saxophone. What sounds like the sample of a record skipping backwards opens the track. It’s a jazz song, like Advice For The Young At Heart.

This won the Grammy for Best Pop Duo or Group, right?

No?

The Grammy went to [checks Wikipedia] Quincy Jones and USA for Africa for We Are The World.

Well, fuck! FUCK!!!!

Phil Collins got his male solo Grammy for No Jacket Required. Fine. But seriously, fuck this shit. We knew that New Wave power groups Simple Minds nor U2 weren’t going to win for best Pop Duo or Group. And I love three of Wham’s songs, but Wham was not going to win a trophy. It should have been Tears For Fears.

Side B of Songs From The Big chair is short. It goes by real quick. We are left reeling from I Believe, but the boys proceed with a sandwich of three tracks to take us home: Broken, Head Over Heels, and a snippet of the Broken instrumental, played live. I wasn’t annoyed when artists added a “reprise” or alternate mix version of a song on their albums in the 80s. It was a way to add some filler, and get a window on what the artist thought was a highlight of the production. But I am surprised Tears For Fears did this. The next critically acclaimed band to repeat themselves was probably Radiohead some 15 years later, with Morning Bell. Broken is an odd song. It kicks off super strong with a long instrumental introduction, complete with a Roland guitar solo. “We are broken” is the first chorus, and then the song takes us to what sounds like a second chorus:

In my mind's eye
One little boy anger one little man
Funny how time flies

This leads straight to one of their greatest songs that also ends with those very same lines.

Head Over Heels is the first love song Tears For Fears put on a record. It’s their wonderfully awkward love song. "Something happens" is passive voice. The songwriting here is genius. This describes anxiety, fear and a little anger all so well and efficiently. It's the love song for people who aren't players nor have any game. And it opens with chords that are instantly recognizable, just like Everybody Wants To Rule The World.

The final track is Listen. It’s mostly instrumental, and it dabs in World Music, but not the great way Peter Gabriel does it. If we knew this would be the final Tears For Fears album, it would go down as a weak final studio track. Roland Orzabal arranges the tracks. He knows how to pick them. Six of their seven albums close with really strong, fitting songs. The weakest closer, in my opinion is Listen. But can anyone complain after 8 songs -6 of them phenomenal- in just 41 minutes? Take your prize, Tears For Fears. This album is your masterpiece. It was produced by Chris Hughes, Adam Ant’s drummer. All synthesizers, programming, sequencing, and the Fairlight CMI were manned by Ian Stanley. Aside from Roland’s vocals and guitar, he IS this record, and he’s the guy in the Head Over Heels Video who’s got game.

And this incredible album almost didn’t happen. Their label wanted this sophomore album released in 1984, hot on the heels of their great debut and first tour. But the boys would not rush things. They spent nearly all their money renovating a Grade II listed 16th century building, called The Wool Hall, converting it into their recording studio. Thus they made a studio that suited them, their sound, and their work pace.

They released Songs From The Big Chair when it was ready.
That too describes their fellow Bath native, Peter Gabriel. The world is still waiting for him to release his tenth and final studio album (it will probably never come). And this album set the standard for all Tears For Fears albums that followed. Roland Orbazal is the creative director, and he decides when a project is done.

Are they done? Not this year. They start a US and UK tour this spring.

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10,000 Days Is Tool's Second Best Album

For years and years I thought 10,000 Days was weak. I've been a Tool fan since a friend forced me to listen to Opiate and Undertow in early 1994 at a snowbound U Mass. Each new album has arrived at a different stage in my life. But I was an idiot, an absolute idiot, for not loving 10,000 Days on the first listen.

My expectations for the album were low after the deafening, apocalyptic masterpiece of Lateralus. What on earth made me think that Lateralus would be as high as this band could get? Well, that was my very strange bias. And my bias that 10,000 Days would be a mild disappointment is the reason I didn't spin the album on my Yamaha CD player and Bowers & Wilkens speakers at home. I either ripped the CD to MP3 or copied the CD to MiniDisc and listened to the album, just once, on the NYC subway for an 80 minute ride. Seriously, I listed to it once in late April 2006, shrugged and thought, "It's okay, but I don't hear anything close to Parabola," and then filed the CD into my cabinet of 4,000 discs.

Fear Inoculum made me appreciate just how great Danny Carey has become. He's my second best active rock drummer after Gavin Harrison. The pandemic era let me finally collect and appreciate Puscifer's discography (as well as their two streaming specials during this pandemic). And then finally, just this past summer, I spun 10,000 Days, properly, at home. It was a revelation. It's their peak. It's MJK's peak vocal performance, for sure - as strong as his work on the first A Perfect Circle album 7 years earlier. The lyrics are clever. The band performance is incredible. This is the recording in which Carey shows us that he is a master percussionist. The mixing and mastering couldn't be more perfect. In terms of themes and track order, it is a very complete album, up there or better than Ænima and Undertow when played start to finish. And then there's the energy. Compared for Fear Inoculum, the boys sound more than 20 years younger.

In the summer of 2021, this progressive rock / metal fan finally listened to 10,000 Days and I now agree that it is their second best album. I now feel like a Radiohead fan who stands by The King Of Limbs or In Rainbows as their best, but I've made my choice. 10,000 Days is a continuation of Tool's peak, which began with Lateralus. And their decades-long run of great albums and epic live shows continues.

Alec Baldwin Is So Fucked

It pains me to write that. But it seems obvious. Alec Baldwin is totally, completely fucked. Everything bad that happens to him going forward is probably going to be traced to what happened to him last week.

This tragic case is extraordinary in every worst way:

1. I will start with the fact that Alec Baldwin is New York’s resident asshole celebrity. He’s been an asshole to just about everyone for the last 30 years or so. You might cry that this isn’t relevant to the tragedy, but of course it is. This is part of how it’s going to be remembered. It is far too soon to write it, but I wrote it.

2. No asshole deserves what happened to Mr. Baldwin. What astonishes me is the level of horrifying trauma he is going through. If you believe in karma, or if you think sometimes the universe comes to collect from bad people, you have to agree that Baldwin’s punishment is disproportionately large for what he has done as an adult. He must be going through the worst hell, unless, he is unfazed and sleeping peacefully at night, in which case, re-read #1. No one deserves such an overwhelming punishment for being an chronic asshole. Not even Donald Trump, who must be thrilled that this happened.

3. Baldwin is no longer an A-list actor. Personally, I will remember him for Beetlejuice, Miami Blues, Glengarry Glen Ross, Malice and The Royal Tannenbaum's (I forgot he’s the voice of the narrator!). He’s in the twilight of his career, unable to star in a theatrical release. So he took a role (and an executive producer credit) in a Blumhouse production that was marred by a labor dispute and a total breakdown of safety protocols. This led to him becoming a victim of one of the worst cases of negligence in the history of movie production. I want to repeat that. What happened last week was arguably worse than The Twilight Zone movie helicopter crash in 1982, or Brandon Lee’s death on the set of The Crow in 1993. That’s because it is currently believed that the gun used was a revolver, which is easier to empty. For a rehearsal, it should have been empty of any and all cartridges. It goes so far beyond ‘inexcusable.’ It should never have happened. And yet, a series of shocking errors and terrible chances led to a tragic death. Somehow a live round found its way into that gun, and that gun ended up in Baldwin's hand.

4. The inexcusable, violent death of Ms. Hutchins was the fault of many people. Primarily, the liability rests with assistant director Dave Halls and an inexperienced armorer. But in order for this to become the horrible manslaughter it was, there had to be a string of consecutive failures, including the final failure from Mr. Baldwin. He violated a critical rule: never point any gun, real or replica, at anyone. It would have been bad enough if a live round was fired during rehearsal, but hit no one. People would still be fired and banned from Hollywood. An investigation would still happen. The unions would send stern reminders to armorers and assistant directors. But this horrific tragedy is one in which a series of terrible things happened, including Baldwin pointing the gun at two principal crew members.

Are you a fan of Alec Baldwin? Did my words hurt you because I said something harsh about the star of of the insanely overrated and self-referencing 30 Rock? Well, don’t be upset at me. Just watch what happens next.

New York City now has two celebrities on death watch. Which one will go first, Alec Baldwin or Rudy Giuliani? Or will Robert De Niro crash the party with a surprise passing?

It might seem that I find some pleasure in this. I don’t, really. One person is dead and another is having his life completely ruined.

I do admit to being slightly evil and twisted. I have to be a little evil in this cruel nation.

Philadelphia Might Be Alright Now

Way back on July 3 of this year, members of the white nationalist group, Patriot Front marched through downtown Philadelphia. They were chased out. I am thrilled this happened. Finally. Everyone who considers themselves to be anti-racist needs to chase white nationalists out of town.

Having said that, we should acknowledge that Philadelphia has a terrible history of being an unjust town for its majority black population. You can’t get in line at Geno’s without seeing a message that black people are cop killing animals (and, I presume, that Italian-Americans are good, wholesome, superior people). Philadelphia and my New York both have the distinction of responding to the crime wave of the 70s and 80s by electing a white supremacist Italian American mayor, who was a disaster for the city and a menace to black residents.

I Expect You To Die, United States. Please Do.

Mr. Sterling is back from a long, hot summer break. I think I can get my stack of draft posts into production before Christmas. I’ll treat this like a semester at university, as I first did 30 years ago when our popular culture changed for the better.

So I start with this hot take: the Republic is indeed dying. And I have shifted from being sad about it, to being afraid, to now expecting and almost wanting it to happen. We did this to ourselves. And we cannot accidentally or improbably rescue ourselves every time we walk-up to this abyss. This time, we are committing suicide.

When I last posted on this blog, the US had the SARS-CoV-2 pandemic on the ropes. We were down to fewer than 300 deaths per day. Was it going to be that easy after nearly 18 months of suffering? Were we gong to end this pandemic?

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Of course not.

Nope.

Holy shit.

The US had one job. It had to get as many as the 258 Million adults vaccinated before Labor Day. It failed. Full stop. It failed. We didn’t get the vaccine into even 180 Million adult arms as of today. And so now, 1 out of 4 (25%) US adults are unvaccinated. And we are seeing scenes like this in every state, including this example from my own city. The loud minority is winning this war.

The reason the richest country in the world failed to vaccinate its adults before the fall wave of new cases is because lies are far more effective in spreading than truth. That’s been the case for centuries. This vaccination effort was not going to be a smashing success, even with the late mandates now coming into effect. But it absolutely needed a big, clear and coordinated campaign, with Nashville music artists and Ford pickup trucks leading the way. It needed to be the biggest public morale campaign since World War II. Instead, we got mixed messages, starts and stops, and finally the crushing lies all over the internet, reinforcing dumb people and their resistance to authority (well, Democratic authority).

This all makes sense. About 70 Million people, who would be perfectly fine with long-term authoritarian rule, are blowing their tops over hospitals, local governments, and the Federal government asking that they get vaccinated - for free!

We could have at least tried to prevent this with a massive, coordinated propaganda campaign. We didn’t. The lies won. The loudest voices in the room won and we let them. This happened before, just 6 years ago, with well-established vaccines, by the way. And it will happen with future vaccines.

And this translates into a higher death toll. For example:

Too late, loser. You had four months to get vaccinated. You’re dead now. There are over 100,000 Americans like him now. There will be another 100,000. And another.

And you, shithead. You didn’t have to be hospitalized. This was preventable. You should have died. Good thing there were hard-working medical care providers, a spare ICU bed and medications that were available at your local hospital.

I could share hundreds of videos in this post. I’ll stop. If you are still reading this, you get it.

Which brings me to my point. It’s evil, so brace yourself. It’s this: I now celebrate of all this preventable death. We have asked American adults to get vaccinated, and we have given them six months to get it done. But 25% of them have refused. I take that as confirmation that they want to die. They have made their choice. They have chosen death.

So they should die. They should die and stop wasting our time. Our time here is short. The pandemic will soon enter its third year. Let’s step up the death count. 2,000 per day isn’t good enough. Let’s get it back to 4,000. No one will care. And my patience is extinguished. You probably consider yourself too polite to say that. That’s commendable. I couldn’t keep it inside any longer. I had to write these words.

And here’s the kicker. This was the plan of us leftists all along to kill-off the right wingers. We knew -we knew- that by telling people to get vaccinated, the 70 Million hard-core MAGA caps would commit to not getting their shots. It was the most incredible reverse psychology tactic in history, as John Nolte of Breitbart explains:

Could it be…? Could it possibly be that the left has manipulated huge swathes of Trump voters into believing they are owning the left by not taking the life-saving Trump Vaccine?
….
Have you ever thought that maybe the left has us right where they want us?

Just stand back for a moment and think about this…

Right now, a countless number of Trump supporters believe they are owning the left by refusing to take a life-saving vaccine — a vaccine, by the way, everyone on the left has taken. Oh, and so has Trump.

Now think about this.

On this very day, about 1,000 people in the U.S. will die of the China Flu. How many of those lives could’ve been saved had they been vaccinated?…. Does it matter?

And if the left is all vaccinated and we’re not, who’s winning?
.…
I could be wrong.

Maybe the left isn’t that evil and sly.

But when I think of the unvaccinated lying there dying, being told by their doctor, “Sorry, there’s nothing more we can do to get enough oxygen to your lungs,” I don’t laugh. My heart breaks for that person. Imagine lying there dying thinking that all you had to do was get the Trump Vaccine.

Even if this isn’t the left’s plan, who’s owning who?

That’s right, genius. It is the bank shot to rule all bank shots from the same people who couldn’t pass a deficit-neutral Medicare enrollment option for the uninsured. Sigh.

The pandemic will burn for years. The Republicans have the courts. Gun rights are being expanded in 2022. Roe is being overturned in 2022. The Republicans are going to take back Congress in 2023. And then, in 2025, they will steal the White House and cement authoritarian rule for at least a generation. By the time that happens, the Republic will be dead.

What the GOP has done since 1980 is extraordinary. They have won the presidency twice while losing the popular vote. They have packed the courts with corporate-friendly judges, who have sharply tilted the Supreme Court to the right since the early 1990s (particularly since the arrival of Justice Alito in 2006). And they continue to win big locally, winning close to two thirds of State Houses and state legislators. There are tens of millions more registered Democrats then Republicans. But Republicans are in charge through minority rule. And we are seeing them shift from minority rule to autocratic rule.

Biden's agenda has been stopped. Congress can't anything done. The republic is clearly dying. And Republicans are more than okay with that. They think, unwisely, that the states will be okay if Washington’s power collapses. This is not true. No one is going to be okay when the wildfires and hurricanes hit. Only the millionaires and billionaires will be okay when capitalism reaches its final limits. And there will be no reason to defend this nation any longer when freedoms -particularly bodily autonomy and the right to vote- are taken away. We're all doomed, thanks to Republican ruthlessness and Democratic weakness.

The only question I have remaining is will the masses in cities rise up when the republic collapses, or will we follow the more common historic example and just take it with a whimper? Will New York City just become a symbolic center of resistance like Barcelona under Franco? We Americans are pigs who love our treats. If the treats are still available on Amazon, I think we will just take authoritarianism.

Pathetic.

I’m ready to watch it all go down. Raise your glass and watch it all burn. It’s what the Republicans want.

Generation X Thrown Into The Garbage Heap

Generation X never had a chance. We’re finished. Some of us got famous. A few of us became right wing politicians like Ted Cruz. Some of us became legendary athletes like Ichiro Suzuki or Scott Dixon. And a few of us become billionaires like Elon Musk and Larry Page. But overall, Generation X became what it feared it would become, an overlooked generation that followed the Baby Boomers. And the Baby Boomers stayed in the workforce for too long because (and I’m being sweepingly general here) they supported economic policies that forced a majority of Boomers to work past age 65. It’s a fucked-up, late capitalist situation.

And now the purge of Generation X from the workforce is well under way. And sadly, it is legal, thanks to the weakening of US labor laws over the decades. A quick note about that: This arbitration dodge has been abused for years. Congress should restrict this corporate abuse of the right of employees, and broaden their right to seek class action judicial remedy for such outrages. Silicon valley must no longer be the "Wild West" of capitalism. It's begging for regulation, and I hope the US House can pass a bill this year to at least signal that it is time to re-regulate.

Generation X was a little smaller than the generations before and after it. But as good American consumers, they sure punched above their class. They went all-in on borrowing for college and borrowing to buy houses. They kept the US economy humming by going into deep debt. And that debt has dampened their overall wealth. We were correct. We were the first generation from the 20th century to fail to match the living standard of the generation before.

And now, as my generation nears retirement age, we realize that we had moire missed opportunities and denied chances than most other contemporary generations. In 2021, Generation X is properly having a moment. It was 30 years ago that we had some of the defining events and cultural touchstones of the generation: Michael Jordan and the Chicago Bulls winning their first NBA title, the arrest of Jeffrey Dahmer, the fall of the Soviet Union, Mazda winning at Le Mans, seminal albums from Massive Attack and Nirvana, The Black Album, Achtung Baby, the Gulf War and even the original Star Trek’s swan song.

It will be interesting if the Generation X call-outs and retrospectives continue in 2021. So far, the collective responses from my generation have been eyerolls, cursing and awkward silence, which is what I cherish.

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Daria

Meghan Markle Is A Nobody

It’s the news media, specifically the American news media, that is keeping her in our headlines.

The American news media calls Megan Markle a “feminist” and a world leader. Google her name and “feminist” and a lot of results appear. But in reality, who is she? She’s the wife of the brother of the future king of England. She and her children are nowhere near the line of succession. She is a supporting character of a supporting character.

Now I know I must acknowledge a few facts before I continue my argument. Obviously I am self-aware of the implications of calling the half-black, American wife to a British royal a “nobody.” Of course she is not a nobody. She’s a real person. She’s entitled to privacy. And it is terrible for a white male blogger to call a black woman a generation younger than him a “nobody.” That’s bullying. I know better. I should Be Best.

Come to think of it, Melania Trump is also a nobody, but I covered a part of that in a separate post.

It also needs to be acknowledged that Meghan Markle was and is treated terribly by the sleazy London tabloids. She was smeared for both her skin color and the fact that she is an American-born woman with no royal family ties. No woman deserves to be trashed before she can make a first impression on her terms. The British tabloids never gave Markle a fair chance. At least I am weighing in years later, after a lot of evidence has become available in the public sphere.

I call Meghan Markle a nobody because, in the grand scheme of things, the media attention she has received far outweighs her contributions to society and her significance in world history. She’s a positive footnote in an otherwise long and terrible history of British royalty. That is, until she made herself even more of a footnote by effectively leaving the royal family and giving up her titles and official royal duties.

Know what she is? Yes, she’s a feminist, but so is Lady Sterling. No, Megan Markle is simply privileged. The Duchess of Sussex did no more for women before she married Harry Windsor than millions of other American women who call themselves feminists. She worked hard to crack into show business (her major credits are game show model and supporting character on Suits), but she never did the hard work of activism and resisting the patriarchy. But once she married the Duke of Sussex, she became a sought-after celebrity who could help promote philanthropists, non-profits, GMOs and other wealthy do-gooders who want to boost their exposure and reputations. This leapt her to the top of the celebrity feminist hierarchy. It must have helped to have the weight of the royals behind her to remind media outlets to keep calling her a feminist and humanitarian. She’s not alone. Just look at Jay-Z.

Which brings me to my next and final point. The American media loves her for many reasons. Sadly one of them is a ghost named Diana. As I wrote in my master’s thesis, the news media loves to give history lessons to its viewers if there’s an interesting story to tell, and the news organization also finds the story interesting. Call it a form of navel gazing. A story of a new British Royal bride being trashed by tabloids and then fleeing the family is a familiar tale. The tale is even more gripping when the woman marries one of the late Princes Diana’s sons. It’s even more gripping still when that son irrationally tells the media that he fears the media is going to kill his wife like they killed his mom. But these comparisons fall short. Markle is leaving the family on her terms, to make loads of cash. No affair or divorce forced her ouster. And, in a development that is worthy of a separate blog post or book, the golden age of paparazzi is over. From roughly the 1950s to the late 2000s, it was the paparazzi who got us candid photos of celebrities out in the wild. Today, the celebrities have taken back control of their images, and directly share photos and videos of themselves through social media platforms. The death of Diana should have popped the paparazzi bubble in 1997. But by 2013, Instagram did.

So no, the Duchess of Sussex is not in mortal danger. She’s free to be sit on the boards of non-profits and buy and sell stakes in companies for the rest of her life (again, look at Jay-Z). Leave her alone. But please also keep her out of the news. She is a nobody.

The Nobel Prizes Are Bullshit

This past week, Abel Tesfaye lost his shit for not being given any Grammy nominations for his fourth (and probably second best) album. I want to like The Weeknd. I understand he’s a nice guy behind the brutal, drug using and self-abusing persona. He’s a very confident performer and songwriter. His albums have a big budget production that sounds fresh, not generic. But last week’s news reminded me that awards generally suck. And perhaps no awards suck more than the Nobel prizes.

While I respect a miniscule number of lauderates over its 120 years, I cannot ignore the overall failure of the Nobel prizes and most awards in general. We know the Nobel Peace Prize is laughable. And the Nobel Prize in Economics Sciences is not really a Nobel Prize.

The last few years have given us further proof that the Nobel prizes are bullshit. The Peter Hanke saga has been dirty, even by the Nobel Foundation’s low standards.

https://theintercept.com/2019/11/14/peter-handke-nobel-prize-bosnian-genocide-conspiracy/

I don't know about you, but I have zero respect for all prizes and awards. Henry Kissinger won the Nobel Peace Prize. Henry Kissinger!! Bob Dylan won the Nobel for literature. Every year the Academy awards are given to people who are nominated because the producers and the money men see that bloated and grotesquely un-entertaining show as great publicity for their crappy products. So I just ignore those with the temerity to tell us who are the best at anything.

Don't Buy A PS5 Until It Shrinks In Size And Price

Fellow gamers, you will not heed my advice, but I have advice. Do not give Sony what it wants. Do not buy a PlayStation 5. Not this year nor next. See if you have the patience to wait until at least 2022.

The PlayStation 5 goes on sale in North America today, and as you know, the thing is huge. It’s an 1990s VCR.

Demand is high. Supply is low. The supply chain is under stress due to the global SARS-CoV-2 pandemic. And Sony decided it was a good idea to make it worse (for consumers, not them) by setting up a lottery for the chance to be among the first to buy a PS5 in the US. Jim Sterling explained all of that perfectly.

So here is my advice, hold on to your PS4. Give it some love. Got a PS4 Pro? Why not upgrade the hard drive to a Western Digital or Samsung SSD? I got this Western Digital Blue 4TB SSD and I love it. Yes, the load times are only 1 second faster, but I now have all my games on a single, non-spinning, internal drive. The PS5 can’t do that yet. In the years ahead, I suspect you’ll be able to get a PS5 with 4TB of storage. But for now, it has just 667.2GB of internal storage. And that’s for PS5 games only. All your PS4 games should be stored on an external drive. Since I like Western Digital, why not a rugged WD “Black” external drive?

Or better yet, as I said, wait. Two years from now, around Black Friday 2022, the PS5 will cost less, be smaller, and have a lot more games. You know that.

Ask yourself, have you really played all there is to play on the PS4? Star Wars Squadrons has been released. The Outer Worlds is not to be slept on. Cyberpunk 2077 is coming. Disco Elysium is coming. The Witcher 3 is still possibly the greatest game of the generation. Red Dead Redemption 2 is too long and too complicated, but it might be the best “slow” video game ever made. Slow down. Play the games you missed.

And now that Sony has bought Crunchyroll, maybe you can catch some anime you missed, if you’re into that.

The PlayStation 4 is still the streaming hub of your home. It runs Peacock, ESPN+, Pluto, Netflix, YouTube, Hulu and so many other platforms.

Also ask yourself - just how committed are you to the PlayStation? What do you love most about it? For me, the PlayStation is not just a game console. It is a portal to Japanese culture. It is the most Japanese electronics product in my home (well, aside from my Canon MK6 Mk II camera and my Zojirushi Neuro Fuzzy rice cooker).

The PlayStation 4 brought some incredible Japanese games to the West. Here’s a partial list:

Gran Turismo Sport

Bloodbourne

Nioh

Final Fantasy XV

Persona 5 / Persona 5: The Royal. Persona 4 might be one of the greatest video games ever made, up there with Super Mario Brothers 3 and Fallout: New Vegas. Persona 5 is not as great, but still highly satisfying for a JRPG.

Devil May Cry 5

All the recent Resident Evil remakes - Resident Evil 2, Resident Evil 3 and Resident Evil 4 (coming in 2022)

Nier: Automata. Shockingly thought-provoking and deep for a JRPG. So stylish, too. And each time you replay it, it gets better.

Tales of Berseria

Valkyria Chronicles (Remastered)

Earth Defense Force 4.1 & 5. It’s stupid. It’s fun. It’s Earth Defense Force.

All the Yakuza games. They have been remastered and there is a new Yakuza game to play in 2020.

Sekiro: Shadows Die Twice

Ghost Of Tsushima. (OK not produced by a Japanese studio, but it’s a faithful samurai movie)

Pawapuro / Power Pros 2016. The most fun baseball series for the PlayStation? You’ll have to memorize the Japanese menus, but translations are available. I’m a Carp supporter, which makes it easier for me to get into something that isn’t American baseball.

Akihabra’s Strip 2. Okay, just kidding, but if you wanna get a little weird. Defeat vampires by beating the crap out of them while stripping them naked in the sun. If only the fighting was enjoyable.

Girls Und Panzer: Dream Tank Match. Wanna get more weird? Anime girls piloting WWII combat vehicles in war games. Nothing controversial. It’s not just Nazi war machines, I hear.

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Upgrade your PlayStation 4 Pro. Keep it weird. And wait two years to buy a PlayStation 5. If I break my own advice, I will post an update here.

My Long-Delayed 2010 In Cinema Post

Her’s another post purged from the draft dungeon. 2010 was a very good year for movies. And I’m not including the movies most people think about when discussing 2010. I haven’t seen Inception, so it is not on my list. The King’s Speech is terrible, and yet it won best picture. I should also admit that I will never watch the Toy Story series, even though I understand the third film (released in 2010) takes a horror movie turn. 2010 had solid genre movies set in eastern Massachusetts with The Fighter and The Town. Both are watchable. Both have good performances and set pieces. But I want to drill down to the really good stuff.

In my book, 2010 is the fourth year in a row ending with a zero that had a really good year in global cinema. It didn’t blow people’s minds like 2007 did (a future post). But there was enough greatness to go around. I really liked 2010. Like 1980, 1990 and 2000 before it, it’s a year in cinema I can return to. Here’s my list, in alphabetical order.

Animal Kingdom: The first of several new crime dramas from down under, which includes The Snowtown Murders (2011).

Another Year: Mike Leigh is a master of the British Social Realism genre along with Ken Loach. In Another Year, he makes his most successful film since Secrets and Lies (1996). It’s a team effort, as all characters and dialogue are developed by Leigh and his actors through research and improvisation. For me, the film was a reunion of some of Leigh’s best actors, including Lesley Manville, Jim Broadbent, Ruth Sheen and Peter Wight, who I had seen last in Naked (1993). It was also the first film I watched that starred David Bradley. The film takes a while to build its central theme of loneliness, but each loneliness subplot it introduces has a payoff, with the biggest saved until the end.

Carlos: Was it made for television, the theater, Cannes, or the Criterion Collection? Perhaps all four. And like another epic made-for-TV project, Das Boot (1981), Carlos is an engrossing, accurate portrayal of the most famous terrorist in the world before Osama bin Laden. For acclaimed director Olivier Assayas, dramatized history and biopics are not his thing. But this exception is one of his five or six great films in his expanding filmography.

Certified Copy: It took a lifetime of making movies, but Abbas Kiarostami finally got to make a film outside his nation of Iran. He made it in France, with MK2 productions (which I always associate with Olivier Assayas) and his good friend, Juliette Binoche.

Greenberg: I was going to do a separate blog post about Greenberg back in 2010. I was going to pitch it as a ‘Five Easy Pieces for Generation X.’ I think it’s great, and ten years later, many agree. I didn’t fall for Noah Baumbach right away when The Squid And The Whale was released in 2005. The comparisons to fellow Brooklyn native Woody Allen seemed too much on the nose. And while Greenberg has a snarky, jaded, and even unlikable New Yorker as its protagonist, it’s a remarkably good drama in which not much happens, similar to Another Year. And yet I think both films top my list for 2010 for their quality, excellent pacing, intentionally awkward (realistic) scenes, and honesty with uneasy themes like loneliness, betrayal, regrets and abortion (yes!). Greenberg gets the edge for a marvelous soundtrack. We X-ers have known for decades that Duran Duran’s ‘The Chauffeur’ is a sublime, perhaps accidental masterpiece. So thanks Noah Baumbach for reminding us. Greenberg is a fine American drama about responsibility, fucking up, and reducing the number of people you hurt while you try to resort your life. I know it can be a love it or hate it movie, but I love it. It encapsulates much of the essence of my generation, as ugly and as unproductive as it seems.

Meek’s Cutoff: Where are the female directors, we ask? Kelly Reichardt has been a consistent feature director since 1994. Marketed and praised as a “feminist western,” it’s a stripped-down drama about peril and getting lost. It’s both an original western and one of very few features made about the pioneers of the Oregon Trail.

Never Let Me Go: I liked the novel better. But Mark Romanek’s film adaptation delivers most of the themes and impact of Kazuo Ishiguro’s work, with the emotional punches to the gut not as hard-hitting. Still, we get an icy and creepy performance from the underrated Keira Knightly. This film also stars Andrew Garfield, proving that 2010 was he breakthrough year as I think he stole the show in The Social Network.

Shutter Island: It’s a solid genre film directed by Martin Scorsese based on the novel by Dennis Lehaine. It’s a third Hollywood feature set in the Boston area in 2010! It’s very faithful to the source material thanks mainly to Mr. Lehaine’s involvement. And for its production values and stellar screenplay and cast, it belongs on this list.

The Social Network: The film that should have taken home the Best Picture Oscar. How does an established auteur like David Fincher follow-up the best film of his career (Zodiac)? He applies what he learned shooing his last film digitally and keeping a well-organized screenplay (something he has done since his second feature). I didn’t think that The Social Network was great when it came out. I was still high from Zodiac, one of the best movies about obsession ever made, and the first all-digital film to look beautiful on the big screen, opposed to looking like a really polished video game or television show. David Fincher and his cinematographers took his flat, sometimes smoky visual style and transitioned it from film stock to solid state drives wonderfully. As for the film, The Social Network is about the talented, well funded, privileged assholes who helped to ruin our world further. And it was only appropriate that an asshole wrote the screenplay. And yet it is engrossing and rises to the equal Fincher’s best work thanks to his always-grounded direction. It also has the best score of the year courtesy of Trent Reznor and Atticus Ross.

Somewhere: Sofia Coppola made the companion film to her breakthrough, Lost In Translation (2003). While I am not a fan of either Elle Fanning nor Stephen Doriff, they both deliver in this low-key meditation piece on boredom - yes this is a good movie about Hollywood boredom. It has no right to be any good, but it is. Plus, Coppola got rather unprecedented access to her real-life location, the Chateau Marmont. It really helps that the photography was done by the late, great Harris Savides, who also shot Greenberg, as well as David Fincher’s all-digital Zodiac.

Winter’s Bone: We now know that she’s flirting with retirement, but Jennifer Lawrence’s star-making debut in this movie will live forever. It’s a tiny, dark depressing drama. Also starring Dale Dickey and John Hawkes, this little film has quite the stellar cast.

Another Reason Rhymesayers Entertainment Has he Best Artist Roster

Prof: Squad Goals (2020). Explicit lyrics below.

Rhymesayers Entertainment has such great artists as Aesop Rock, Brother Ali, Dilated Peoples and Atmosphere. Prof is less serious, but his rhyming here is quite good. The video is excellent.

I got guns, hoes, money, dro
Cars, boats, you should know
Dogs, bros, squad goals
Hold up,  whoa
You name it

Guns, hoes,  money, dro

Cars, boats, you should know
Dogs,  bros, squad goals
Hold up, whoa
You name it

I’m throwing money off balcony into the crowd because I want to

God damn I feel good
Sure that you already know
One things understood
Ain’t nothin that can stop my glow
Mmm dog gonit
Can’t I just take my time?
All these clout chasing motherfuckers rushin all around me I’m like
Bitch hold your horses

(Prof you’re the best)

I’m like true I am
Rosario Dawson know who I am
If it’s cool with you, girl I could move right in
You do not understand just how cool I am
Like see, look at me, look at me
I’m on a beach
Don’t try to holler cause I’m out of reach
I got no service, I’m out on the keys
A couple woman
My dollars and me
Bout to go swimming
Thank god I’m a G
One shot for me
Un bebidas para ti
Let’s skinny dip in the sea

(You know what I’m saying
I’d rather do things we remember later
You know what I mean?)

I got guns, hoes, money, dro
Cars, boats, you should know
Dogs, bros, squad goals
Hold up, whoa
You name it

Guns, hoes, money, dro
Cars, boats, you should know
Dogs, bros, squad goals
Hold up, whoa
You name it

I’m throwing money off balcony into the crowd because I want to

Oooh, seriously, look at myself
Condom model over here
Oooh, seriously, look at my flow
Colder than a polar bear
Oooh, straight up I’m an awesome person
Oooh, you ain’t ready for this sauce I’m serving
Oooh, straight up, I’m an awesome person
Oooh, you ain’t ready for the sauuuce

Young Pookie, your highness
Gone find the finest vaginas
From China to Thailand
Got ‘em whinin
Why not combine ‘em?
Pardon me let me chime in
But there’s science behind my conniving
I’m refined and violent
Throw the lime in, fine dine the hyman

Swag
Swag
(aaahh)

I got guns, hoes, money, dro
Cars, boats, you should know
Dogs, bros, squad goals
Hold up, whoa
You name it

Guns, hoes, money, dro
Cars, boats, you should know
Dogs, bros, squad goals
Hold up, whoa
You name it

I’m throwing money off balcony into the crowd because I want to

(Hey)

Fuck it up, fuck it up, fuck it up, fuck it up, fuck it up, fuck it up

(Hey)
Swear to god, if you could throw it at me that I’ll grab it and fuck it up
(Hey)
Fuck it up, fuck it up, fuck it up, fuck it up, fuck it up, fuck it up

(Hey)
Swear to god, if you could throw it at me that I’ll grab it and fuck it up

Oooh, how bout that drink
You gonna finish that?
If your bro talking shit I’m gon’ get his ass
I got two hands that gon’ fit his ass
Knock him out cold, he gon’ shit his ass
Talk on the phones up in Trinidad
Bout to make films up on SkinaMax
Oh you just jealous because my bedroom sounds like
It’s a fucking womens tennis match
(aaahh)

I feel good
(ooohh-ahhh)
I feel good
(Yeah)
I feel good
(ooohh-ahhh)
I feel good
(Alright, yeah, alright)
(I feel good)

I got guns, hoes, money, dro
(Feel good)
Cars, boats, (oooh I feel good) you should know
Dogs, bros, squad goals
Hold up, whoa (heyyy)

Jim Jarmusch's Zombie Movie Is Heading To Cannes

I was going to post this when news first broke that one of my favorite filmmakers, Jim Jarmusch was going to make an off-beat zombie movie. When I ran the news past Uncle Tim, he emailed me:

A Jarmusch zombie movie somehow sounds desperate to me. Of course, since much of the style of acting he prefers in his movies always struck me as zombie-like, perhaps this was simply a logical progression. When I was a kid, I always found zombies creepy but distinctly un-scarey. After all, they were so slow and physically handicapped, they couldn't catch anyone they chased, and in any event, didn't do anything bad to you if they did. It was George Romero who changed the entire genre. The zombies were still creepy, but now they were lethal and cannibalistic. The zombie-movie has gone from absurd to ludicrous without even brushing up against interesting. But, since apocalyptic horror, thoroughly peppered with blood, inchoate violence, and gratuitous helpings of viscera has become hugely popular and profitable, why shouldn't Jarmusch join the sanguine parade?

Fair points. But now, we have a trailer! It’s funner than his other two off-beat “genre” films, Ghost Dog (1999) and Only Lovers Left Alive (2013).

I’m in. Surely this is going to have awkward moments and hit-and-miss humor. But has Jim Jarmusch ever made a bad movie? No. Are his movies super fun? Hell yes. And while now, decades after Ghost Dog, Coffee & Cigarettes and Stranger Than Paradise, all the cool actors want to star in a Jarmsuch film, it hasn’t made him any less cool. So I am in.