I remember exactly where I was on May 21, 1999. In my
apartment, with my friend Jessica, watching Susan Lucci win her Emmy. Where
else would I be? Back then I would never miss an Emmy telecast. I was a huge soap
opera fan, having watched them since I was 10 years old. All My Children and
One Life to Life were my favorites. But I had checked in on most of the other
shows, at one point or another. Every soap fan, no matter which one they
favored, knew Susan Lucci, though.
Susan played Erica Kane on All My Children since day one
(January 5, 1970). Over the course of serval decades and episodes, Erica had
done everything. So many careers, husbands, and bitchslaps. When you thought of
soaps you thought of her. And then her history with the Emmys was a soap opera
in itself. For 19 years (non-consecutively) Susan had been nominated in the
Lead Actress category. And every year she lost. That’s a lot of disappointment.
And a lot of fake smiles after the camera cuts to your losing face.
It’s not that she was a bad actress. She just wasn’t an Emmys
actress, I suppose. It also didn’t help that she chose so-so clips for her
submissions. While everyone else was doing serious drama, she did camp. But in
1999 she submitted scenes where Erica was dealing with her young daughter
Bianca’s eating disorder. The change must have resonated with voters. Or maybe
they were worried that the world would truly end in Y2K and they’d never have
the chance to give Lucci an Emmy before it did. Who knows?
But, finally, that historic night arrived. Shemar Moore, a popular actor from The Young
and the Restless, was in charge of presenting the Lead Actress category. They
played the clips of all five actresses and then it was time to open the
envelope. As soon as Shemar shouted, “The streak is over…” I knew, as did
everyone else, that she had won. The crowd in the auditorium lost its mind! As
did I. I gasped and leapt to my feet with them. Jessica had to tell me to stop
saying “Oh My God!” I couldn’t help it. The seemingly impossible had happened.
Susan took to the stage. It felt like the standing ovation would never end. She was still in a state of shock, but she managed to give a great speech. Touching, sweet, and funny. It went on for quite some time despite efforts to play her off. You can see it in all its glory on YouTube. 20 years later, it still makes me weepy. She wrapped up with a very dramatic proclamation, fitting for a soap queen, “I’m going back to that studio on Monday and I’m going to play Erica Kane for all she’s worth!” A truly soaptastic moment.
On April 23, 1979 ABBA came out with their sixth studio
album Voulez-Vous. Similar to their previous efforts, V-V was very successful
across the world. It went to number #1 in several countries and produced hit
singles. With this album, the group stepped up their disco sound while staying
true to their roots. 40 years later, here’s how each track breaks down for
worst to best.
10. Does Your Mother Know?
Trust me, she doesn’t want to know about this song. I’ll be
blunt. A song without Agnetha and Frida on lead doesn’t work. Bjorn is fine,
but I don’t want to hear about him flirting with some jailbait. I’m also not a
fan of the attempt to add a 50s/60s rock n’ roll flavor to the song. This is
ABBA, not Happy Days.
9. I Have a Dream
There are better ABBA ballads out there. Like “The Winner Takes It All”. I know not
all ABBA songs can be winners (yeah, I did that), but this one is especially
dull and mopey. It just lays there. A flat little dream that never takes off.
The children’s choir doesn’t help either. Sorry, kids. I know, I’m heartless.
8. Chiqitita
I’m surprised this was the lead single off the album when
there are so many better choices. See below. This song feels very middle of the
road and generic to me. Not a great introduction to the world for your new
album. Also, I always felt like Chiqitita was the lame cousin of “Fernando”.
Maybe because they were placed back to back on the ABBA Gold Album. In any
case, the group has done better Spanish-adjacent material.
7. The King Has Lost His Crown
Frida takes the lead here, singing about an old love who has
lost his mojo. His new girl is leading him around and he can’t do a thing about
it. He just has to cry for her. Poor king. But good for us. This is cool little
track. Subtle by this group’s standards. It almost feels like a Yacht Rock song
with it’s easy vibe. ABBA meets Steely Dan.
6. Lovers (Live a Little Longer)
A doctor has announced that lovers live longer. So, making
love is the key to staying alive. It’s the new fountain of youth. Mmmmk. There’s
a “Doctor’s Orders” connection to be made somewhere. Also, how voyeuristic that
they don’t care who sees them getting busy. Sassy, ABBA. Wacky lyrics aside,
this is an alright song. The slight funky feel is a nice touch.
5. Kisses of Fire
I like the pretty ethereal start, with just the vocal. It
climbs and climbs until the beat kicks in.
Then it’s a soaring chorus with a fast delivery. This didn’t really need
the disco strobe-like beat. But it doesn’t hurt it either.
4. Angel Eyes
Seeing your ex with his new piece is never fun. Especially
when you find out he’s running the same game on them that worked on you. How uninspired.
But, really, how hypnotizing are those eyes anyways? As mesmerizing as this
song, maybe. You can’t help but get caught up in it all. I don’t care if I have
to pay the price. Ah-ha-ha.
3. As Good as Knew
I can’t say enough about the intro with the strings. And
then that awesome beat jumps out at you. It’s like classical meets disco. Like Beethoven
getting down at Studio 54. An odd mix, but it really works. You almost don’t
need any words. But some fun lyrics about staying in love together forever and that
“mamamamamama” make it even better. Big points for that bridge too.
2. If It Wasn’t for Nights
The nights are hard, man. You’re going about your
day-to-day. Appointments and stuff. But then you get home after 5pm and all you
can think about is that lost love. We’ve all been there. A good ABBA song is a
nice remedy though. This danceable gem is especially comforting. You may be
alone staring at the walls, but at least you have something to bop along to.
*Bonus* Check out the BBC TV performance of this song from ’79. Typical tacky
ABBA costumes. Definitely lip-synched. But Frida steals the show with her
playful dancing. It’s a little nutty and I enjoy it
1. Voulez-Vous
This is simply the best track on the album. Disco at its
finest. As if ABBA had a baby with Chic. It’s hard to top the intro from AGAK,
but this does. The guitar revs you up for what’s to come. Those hand claps and
the ah-ha’s. Then the horns kick it all into overdrive. You have to get up and
dance when this comes on. There’s even a breakdown perfect for a Soul Train
line. A very Swedish line, but fun none the less.
I can always count on Turner Classic Movies (TCM) to
introduce me to interesting films. I like to go thru their lineup each week and
search for new (to me) titles. This happened recently with the 1970 drama Tick…Tick…Tick.
In Tick, Jim Price
(Jim Brown) is elected as the first black sheriff of Colusa, a small southern
town. Not surprisingly, this doesn’t go over well with the white population.
They don’t want this “boy” as their sheriff. They’re lined up outside the
police station on his first day, ready to attack. His deputies promptly quit on
him. And things get worse when Sheriff Price has to arrest John Braddock
(Robert Random) a rich white man charged with committing vehicular manslaughter.
Luckily, Jim has John Little (George Kennedy) the former sheriff on his side, as
well as Mayor Parks (Frederic March).
It would be easy to dismiss this movie as a knock off of In the Heat of the Night. The Best
Picture Oscar winner came out two years before Tick and it explores similar themes: black men placed in roles of
authority in a racially divided south are met with challenges and have to prove
themselves. In a funny coincidence, Tick’s
screenwriter, James Lee Barrett, went on to create the TV version of In the Heat of the Night in 1988.
But Tick isn’t
trying to be ITHOTN. It stands out on
its own with a compelling story. There are also three strong leading men.
Brown, a former professional football player, easily makes the transition into
acting. Kennedy plays the hurt and disappointment of a man who has suddenly
been ousted from a job he truly cared about. And veteran film star, March, provides
both comedy and a masterful presence as the cantankerous Mayor Parks.
Director Ralph Nelson does a wonderful job of creating the
feel of this tense overheated southern town. The sweat practically drips of the
screen into your living room (or theatre, if you’re lucky to catch a
screening). I also appreciated the fantastic chase scene where Sheriff Price
has to run down an elusive Braddock. The camera stays with Brown as he practically
flies across the screen.
If I have a complaint about the movie, it would be that the
story wraps up a little too easily. I wouldn’t have minded a couple of more
beats before we got to the conclusion. I’d also say the roles for the women are
very limited. They don’t have much to do and are portrayed as nagging wives,
screeching harpies, or worse, victims. But these faults don’t take away from an
overall enjoyable film.
**BONUS**
Big points for the soundtrack, made up of Tompall and the
Glaser Brothers songs. They contribute to the flavor of the film. The best of
the bunch is “California Girl (And the Tennessee Square)”. A pure toe tapper
with a Thoreau reference tossed in!
In 1979 Diana Ross came out with The Boss. For this album, she teamed up with Nick Ashford and Valerie Simpson, yet again, to create one of the most successful records of her career. Her first solo effort to be certified gold. The songs she came up with represent a mix of r&b, disco, and soul. Some are fantastic. Some, not so much.
Here are The Boss tracks ranked from worst to best…
8. I’m in the World
This song does not belong in the world. IITW is the last
track and you can see why it was buried there. I believe it’s supposed to be a
powerful anthemic ballad about being strong in the face of adversity. At least
that was the goal. But the execution is a meandering mess. Bad lyrics, sleepy
melody, and absolutely no hook. Just a repetition of the title. The one saving
grace is Diana’s vocal. It’s quite beautiful. If only the song was worthy of her.
7. All for One
This is a small step up from I’m in the World. Very small. The song is slightly more entertaining. But it ends up being the poor man’s version of “Reach Out and Touch (Somebody’s Hand)” none the less. We’re all in this together, love your brother, a house divided can’t stand. Insert your cliché of choice, this song has it. But a bunch of mashed up sayings don’t add up to something I’d want to listen to more than once.
6. Sparkle
How funny that Diana would have a song that shares its name with
a movie that was widely believed to be a takeoff of her life with the Supremes.
If only the song had such drama. Instead it’s a dull ballad about a man that
came into her life and put the sparkle back in her smile. But then he leaves
her. Is the message that it’s better to have loved and lost? Eh. Who cares? At
least there’s a nice jazzy saxophone break.
5. Once in the Morning
Diana needs loving twice a day. Once in the morning and once
in the evening. Alright then. This song is the love child (I did that
intentionally) of Donna Summer’s “Love to Love You Baby” and “I Need Love”. That’s
not a good thing. Diana should be herself, not Donna. But, if you’re going to
imitate Donna, at least do it well. A basic disco song is not the way to go.
4. I Ain’t Been Licked
Unintentionally funny title aside, this is a pretty good song. An anthem done right for once on this album. She lost her love and everyone expected her to fall apart, but she rose above it all. And she’ll keep rising. She’s a prizefighter who won’t let anyone take her down. I love the strong tone of this song. Big points for the background singers on the chorus. It’s like she has an army behind her.
3. No One Gets the Prize
In this one, Diana and her best friend have a falling out
over a man. First of all, what fool would compete with Miss Ross? She’s a
winner baby! But actually, nobody gets the prize because the guy drops them
both. He was probably tired of all the lies and dirt they were throwing at each
other in order to catch him. So, Diana lost her man and her best friend. But
she still has a funky track to dance to.
2. It’s My House
This comes in at a very close second to the top song on my list. It’s one of my favorites of Diana’s, period. This is the song you play after you get home from the club. You’ve danced your ass off, but you still want to move a little. I love how playful the vibe is here. She coos about her house of love and how not everyone is invited. You gotta follow the rules to ger her. Who knew that describing home ownership could be so sexy?
1. The Boss
Of course, this song is number one. It’s The Boss after all.
Diana thought she had everything figured out about love. But the joke’s on her after
love shows her who’s the boss. A lot of people can relate to this one. You
think you’re in control and then someone flips the script. But it’s a good
thing because you found love after all. Letting go of control is a good thing.
Letting go while dancing it out to this unforgettable disco song is even
better.
** SIDE NOTE**
If you want more Diana Ross/1979 amazingness, I suggest you
take a look at her Caesars Palace concert from that year. You can find the
whole show on YouTube. It has everything you want. Impressive vocals, joyful
energy, that glowing smile, and a skintight shiny jumpsuit that only a Boss
could wear! Ohhh!
It’s helpful to go into The
Best of Enemies with few expectations. This won’t be the best movie you see
all year, but it won’t be the worst either. It’s just…adequate.
The film, set in 1971 North Carolina, focuses on a civil
rights activist and a local KKK leader who form a highly unlikely friendship.
Ann Atwater (Taraji P. Henson) and C.P. Ellis (Sam Rockwell) are called upon to
co-chair a community summit (aka a charette) about school desegregation. Of
course, from the start they hate each other. Slurs are thrown around by both
sides. But over the course of the summer they grow to sorta kinda like each
other. Big emphasis on sorta.
If this wasn’t a true story, I’d say it could never have
happened in a million years. And really, the wild premise is the best thing
about the movie. I had no idea this small part of history existed. Too bad the
script doesn’t help to flesh it out better.
This could have been a great historical drama with equal
focus on Ann and C.P. I would have liked to learn more about Ann and her life,
beyond being an activist for her community. Instead, so much of the movie is
devoted to C.P.’s journey. This means a lot of focus on the Klan. Which
translates to several scenes with racists being racist. What’s the point? You
don’t have to convince me that these are disgusting people. One Klan meeting
would have sufficed. Also, the film feels very long, moving at a glacial pace. Not
playing the same bigoted beat over and over would have gone a long way to help
that.
Henson and Rockwell are fantastic as usual. They both deliver
strong performances. Anne Heche also stands out in her role as C.P.’s wife. But
I wish they had better material to work with here.
Some are going to argue that this movie is another Green Book or The Help. There are similar themes for sure. But The Best of Enemies can’t live up to the
movies that came up before it. And it will surely be forgotten by the time award
season comes around, unlike its counterparts. But if a moviegoer is looking for
a fairly entertaining film to fill their matinee slot, again, this will be
adequate.
The first time I saw the movie Heathers was when I was a teenager, one night in the mid-90s. Comedy Central would show it pretty often. This was back in the days when all the channel had to put on were old movies and TV shows. BSP. Before South Park. I don’t think I fully got it that first time. And since it was on basic cable, I was getting a censored version. But something about it resonated. I loved it right away. Maybe I related because I was in high school at the time. Or maybe I was engaged because it starred my favorite actress from 90210. Or maybe it was the just pure craziness of it all. There is a myriad of reasons. This movie was funny, weird, interesting, surprising, and different from any other teen comedy I’d seen before. Probably because it was so dark. I think this is when I first started to have an appreciation for black comedy. Laughing at something extremely inappropriate is always better. Later on, I was able to catch the uncensored version of Heathers and my love for it grew even more. Fuck me gently with a chainsaw, indeed. Fast forward to 2019 and Heathers
is celebrating its 30th Anniversary. I’ll breakdown why it’s
still my favorite movie after all these years.
Writing & Directing
It all begins with the story. It’s hard to sum it up in one line. I wonder what screenwriter Daniel Waters said when people asked him what his screenplay was about. Here’s a one-liner: A group of bitchy popular high schoolers are decimated by one of their own friends and a sociopathic outsider. That was dramatic. And it doesn’t really do this movie justice. It’s about a lot of things. The pressures of high school, first love, clueless adults, suicide, murder, the media, small town life. And the way that life can SUCK! Waters really crafted a nuanced script about teenagers unlike anything else that was out there at the time. Then Michael Lehmann brought Waters’ vision to life through his direction. Guiding us through the light, moody, and dark moments. This is not a John Hughes movie. Nothing against Hughes at all. But in this movie a lot of these kids aren’t making it past their sixteenth birthdays.
Characters
It’s called Heathers, but Veronica (Winona Ryder) and J.D. (Christian Slater) take center stage. The Bonnie and Clyde of Sherwood, Ohio. Veronica’s life is going along fine as usual. Keggers with kids, forged notes, spaghetti with lots of oregano. Then comes J.D. After a little flirting and an expulsion comes a game of strip croquet. Which then leads to them “accidently” killing Veronica’s best friend (and her worst enemy…same difference). The body count grows from there as J.D. and Veronica go on a little killing spree. It’s a wild ride and you’d think you’d hate these characters. Murder is bad and all that. But they’re just so damn fun to watch. You actually end up rooting for them to be together and get away with their crimes. I don’t think you’d get to that place if anyone other than Ryder and Slater were playing the parts. She brings a vulnerability and sensitivity to Veronica. While Slater dials up J.D.’s brooding and somewhat sinister (while still likeable) nature. It all works so well and the chemistry between them comes through.
Then there are the Heathers: Chandler (Kim Walker), Duke (Shannen Doherty), and McNamara (Lisanne Falk). This is the best clique in cinema. Just my unbiased opinion. Walker plays the icy popular girl to the hilt. She projects such an air of superiority in her scenes while delivering some of the best lines. “They all want me as a friend or a fuck.” It’s incredibly sad that the actress died so young and couldn’t go further in her career. As I mentioned before, Doherty was my favorite on 90210. But even if she hadn’t been, I’d still be endeared to Heather Duke. She starts off so timid and meek, but then has a metamorphosis mid-movie. That bitch was always waiting to come out and Doherty plays it so gleefully. Heather McNamara could have been a forgettable role, but Falk makes you feel for her. She’s not necessarily a nice girl, but she isn’t a beast like her friends. Maintaining that line between the two is impressive.
Fashion
When I was in college, I took a film history class. One time we were divided into groups and given a list of films we could write an essay about. Heathers was not on my group’s list. But it was on another’s. Being a benevolent person, I gave a classmate the lowdown about the use of fashion in the in the film. I don’t remember how she did, but I hope she aced that paper. I digress. The clothes are used brilliantly in this movie to help define the characters. Heather Chandler is the strong leader in red. Heather Duke is green with envy. Heather McNamara is the weak yellow-bellied follower. And Veronica is blue because she’s depressed about all this shit. Throughout the film each girl typically wears their respective color. That makes it really fun to see Heather Duke turn into Chandler and start wearing red after her leader takes a header into a glass coffee table. Heather Chandler’s prized crimson scrunchie is literally the bow on top. And then Veronica steals it and becomes the new sheriff in town at the end of the movie. Who knew a flimsy hair tie could be so powerful?
Aside from the color wheel, everybody is wearing their 80s
finest. The first scenes at Westerburg with Veronica and the Heathers decked
out in their blazers with massive shoulderpads is Working Girl meets school
girl. They turn it out even more at Heather Chandler’s funeral. I kinda don’t
know what the hell they’re wearing, but I like it. Oh, and don’t get me started
on Veronica’s many hats throughout the movie. Or all of Heather Duke’s outfits
in the Big Fun petition montage. What other movie has a petition signing montage?!
Music
The second I hear Syd Straw’s version of “Que Sera Sera” I’m
in a Heathers headspace. It’s so
beautiful and matches perfectly with the opening fantasy sequence. And then they
bookend the movie with the Sly and the Family Stone version of the song. It’s
the soulful gritty cousin of Straw’s rendition. Something you’d hear in a dark
cool bar somewhere. Or after your school nearly blows up.
I have a confession. Up until today I had never listened to
all of Big Fun’s “Teenage Suicide (Don’t Do It)”. I only heard a snippet of the
song in the movie. Why? I don’t know, but I’m disappointed in myself. However,
thanks to a lyric video on YouTube I’m well versed in this batshit tune. It
really gets to the point. Don’t kill yourself, teens. Just bop along to this
ditty.
The rest of the score/soundtrack is made up of moody
instrumentals, synths, and those glorious snaps.
**Bonus**
If it wasn’t for Heathers, we wouldn’t have Heathers the Musical! Teenage suicide set to show tunes. I really enjoyed the stage version. Enough to see it twice when it came to my town. Thank you, Goldstar.
My top 4 songs:
“Beautiful”. A great way to introduce the story and all the players. “And when you’re beautiful. It’s a beautiful freakin’ day!”
“Candy Store”. Delightfully biting and catchy. “Honey what you waiting for…. shut up Heather!”
“Seventeen”. My teen angst bullshit has a torch song. “Fine, we’re damaged. Really damaged.”
“Kindergarten Boyfriend”. Incredibly touching. All you need is that “Ooooooh”.
NostalGeoff 