Children and weebs no doubt have their own picks for best animated feature film this year, but your host is still very much smitten with Jérémie Périn's Isaac Asimov inspired Mars Express (2023/24) as it's basically I, Robot (2004) without Will Smith being Will Smith in it. Also, it's probably because it's the only animated French sci-fi I've enjoyed (and most likely seen) since Ulysses 31 (1981-82).
The only real gripe I have with the film is the soundtrack is a little too generically Daft Punk.
Brian Bennett - Solstice
Voyage (A Journey Into Discoid Funk), 1978
Why couldn't Jérémie Périn incorporate some proper futuristic space sounds into his film like
anything off Brian Bennett's classic Voyage (A Journey Into Discoid Funk) EP? A timeless recording which has me picturing the human race becoming truly enlightened beings and exploring the farthest reaches of the cosmos as celestial gods. Or some shit like that.
The highlight off Bennett's EP is undoubtedly Solstice which would have been the perfect accompaniment to the epic finale in Périn's film. Solstice also happens to be a tried and tested staple of space funk as it's been sampled for decades on various rap songs. However, in more recent times, last weekend, to be more exact, your host heard it amongst all the Goblin choons, Lucio Fulci OSTs and S-Express in the background to my favourite film and television essayist Crab Apple's penultimate episode in his superb Amicus Films documentary.
"Hey (Prop) Joe, where you goin' with that gun in your hand?"
Had no idea there was a Jimi Hendrix biopic that came before the soporific Jimi: All Is by My Side (2013), starring André 3000.
Hendrix (2000), which I watched for the very first time this week, is only a fraction better than the above. Wood Harris looks absolutely hilarious while wearing a bunch of party wigs. He earns points for getting some of Hendrix's mannerisms right, however. The rest of the film is both flat, one note and let down by a poor supporting cast (Billy Zane is really bad and equally comedic in a Chop Top toupee), so you're mostly spending your time shaking off the immersion breaking sight of Avon Barksdale with a rubbish looking afro.
Being the anniversary of Jimi Hendrix's death today, I fear we'll never get a quality film about the rock god, as we'll probably get the utterly insipid Justice Smith miscast as the eponymous music legend. What feels like a lifetime ago, my personal choices were Laurence Fishburne or former England defender Des Walker (he was a dead ringer during Italia '90).
No idea who would fit the role today, but I do know what I want in another biopic. Here are five scenes I want to see in a Hendrix biopic:
On the day of Cream disbanding, the BBC news being delayed while Hendrix paid tribute to them during his live set on the Happening for Lulu TV show.
Hendrix covering for sixties crooner Engelbert Humperdinck's guitarist not showing up and performing behind a stage curtain. Hence, the photo of the pair backstage, along with Cat Stevens holding a gun.
A young Ian Kilmister AKA Lemmy working as Hendrix's roadie and doing LSD with him.
Gered Mankowitz's photo shoot where Hendrix posed for his most iconic photograph.
Denny Dent's incredible speed painting of Hendrix, from my old Jimi Plays Monterey VHS tape, being incorporated in the end credits of the film.
It's an absolute insult that the only thing that's Jimi Hendrix related during his anniversary is a rubbish episode of The Misinvestigations of Romesh Ranganathan which pretends to investigate whether foul play was the cause of his death. Alternatively, you can just watch that old The South Bank Show episode about him featuring actual people who knew Hendrix (most of them long dead now).
Guy Richie isn't a director I'm particularly fond of. His success can be attributed to mimicking Quentin Tarantino’s whole style and filling the void left behind from the dying Britpop zeitgeist. I do enjoy a bunch of songs which were new to me from his films, though.
The Castaways' Liar, Liar is a prime example. It’s heard during the poker scene in Richie's mockney, gangster film Lock, Stock and Two Smoking Barrels (1998).
It wasn't until finding a YouTube clip of The Castaways performing the song in the film It's a Bikini World (1967) when I realised the high pitched voice on it was a bloke and not a woman after all these years.
Can't hate on some of Guy Richie's music inclusions, but I can shake my head in dismay at the undeserved success of Lock, Stock and Two Smoking Barrels and Snatch (2000) when they were nothing but inferior Brit flicks compared to Croupier (1998) and Sexy Beast (2000) during that period. Well ow ov aw-da, innit?
Amongst George A. Romero's film oeuvre, the psychological thriller Bruiser (2000) was something of a blind spot until very recently.
Bruiser can be best described as the missing link between The Mask (1994) and American Psycho (2000). Despite some great ideas and Peter Stormare's scene stealing as an outrageously sleazy boss, the film is a let down due to an unfocused script and its messy execution. To hazard a guess, it reeks of studio interference.
Misfits - Scream
Famous Monsters, 1999
An interesting story about Bruiser, however, is how it does honour a favour between the horror punk band the Misfits and Romero for having him direct their music video for Scream! The only music video Romero ever directed. Misfits would return the favour by appearing in Bruiser and performing a four song set; including the titular song.
The film would end up a commercial failure, but the zombie movie renaissance in the 2000s would result in Romero still making films, although restricted to another Dead trilogy.
Land of the Dead (Behind the scenes w/ Edgar Wright & Simon Pegg)
George A. Romero, 2005
The first film in the new trilogy, the underrated Land of the Dead (2005), would feature cameos from Simon Pegg and Edgar Wright as flesh eating zombies. The
British comedy duo ignited their film careers the previous year with the
success of their zombie comedy Shaun of the Dead (2004), which was heavily inspired by Romero's original Dead trilogy.
Just goes to show the extent of Romero's influence on other creative types and how willing they were to repay him.
Kind of funny that, despite being a band from New York City, Blondie would record a song which is forever associated with the sunny vibe of Los Angeles, thanks to it appearing on the opening titles to Paul Schraeder's thriller American Gigolo (1980). Blondie's official video for Call Me features footage of an overcast N.Y.C. Thus, it doesn't compliment the song as effectively as Richard Gere cruising in his black Mercedes convertible while on his way to satisfy some rich cuckhold's wife.
L.A. home of the body bag... and also a bunch of soundtrack choons which sum up the city that I've never been. Since I already did one of these compiliations for its east cost twin, here's the City of Angels' equivalent:
A real shame that Josie Cotton's problematic Johnny Are You Queer? predates its soundtrack appearance in Martha Coolidge's teen comedy Valley Girl (1983), as it's my fave choon off the soundtrack.
That recent trailer for the upcoming documentary on Christopher Lee is a seasonal reminder on the existence of Robin Hardy's cult classic, folk horror The Wicker Man (1973). Unlike Brian De Palma's The Phantom of the Paradise (1974) or the ridiculously overrated The Rocky Horror Picture Show (1975), The Wicker Man is the only horror musical I can watch without being annoyed by the singing.
As a child of the seventies, there's a good reason that might explain why The Wicker Man succeeds where those films fail, and the answer comes from the kids' television series Bagpuss (1974). I'm betting Oliver Postgate, the creator of Bagpuss, had just finished watching The Wicker Man at his local cinema (we didn't have multiplexes back then) and liked the folksy and creepy music so much, he implemented it in his show. Mind blown that the song the mice sing whenever their beavering away repairing or cleaning the latest item that finds its way into Emily's shop of lost items, originates from the centuries oldSumer Is Icumen In, the chilling song at the end of The Wicker Man.
John Fulkner & Sandra Kerr - Mouse Round (Mending Song)
Bagpuss: The Songs and Music Album, 1999
How tragic that Edward Edward's Sergeant Howie, the God fearing, virgin copper and protagonist in The Wicker Man, had succumbed to temptation and wet his police whistle with a completely gagging for it Britt Ekland writhing outside his bedroom door, might have left Summerisle alive? He wouldn't have been a virgin, hence, the ruse to sacrifice a foolish virgin wouldn't have taken place. An important lesson learned right there.
Managed to finally solve the final piece recently in a doubly perplexing puzzle which consisted of two samples used on Andre Nickatina's rap song, I'm a Pisces.
Identifying their origins became something of an obsession ever since I first heard the song on an ancient rap forum. Had a hunch they were both sourced from films, but I was never 100% sure, however. Turns out I was right after all these years:
Bernard Herrmann - Cobra Dance
The 7th Voyage of Sinbad OST, 1958
Chanced upon randomly watching The 7th Voyage of Sinbad (1958) on TV many years ago and hearing Bernard Herrmann's Cobra Dance was a eureka moment. The music in question occurs during the scene where the villainous sorceror, Sokurah, melds a handmaiden in a giant clay vase with a cobra, like a progenator to the Brundlefly. With the aid of Ray Harryhausen's ace stop-motion mastery, the snake woman dances before the sultan's royal court. Knew this wasn't some obscure song from a far off continent, but taken from a vintage Hollywood film. Took some years to finally realise it, though.
Death Journey (Trailer)
Fred Williamson, 1976
Would have loved it if the vocal sample from the start of the song was a similar discovery to the one above, but this was a lot more straight forward - Googling! Yes, it took decades until your host realised he could do a simple Google search. Lo and behold it turned out to be from a Fred Williamson film called Death Journey (1976). The dialogue in question appears at 58 minutes and 21 seconds into the film, but you can hear a part of it in the trailer, too. Thus, the final piece in the puzzle which has antagonised the little grey cells for so long has finally been laid to rest.
Having heard Riz Ortolani's theme from the very downbeat The Hunting Party (1971) for the first time recently, makes this a good
opportunity to list some other joints I dig from the composer. Despite scoring soundtracks for some notorious films from the world of cinema, his music has often been a universal positive to soundtrack heads like myself.
Fave Ortolani cut will always be Do It To Me off Ruggero Deodato's thoroughly mean-spirited nasty House on the Edge of the Park (1980), which was hilariously titled wrong in the film and its trailer. It's been a disco themed earworm that could have played at Fontaine Khaled's swanky London club back in the day. The song being associated with the most amusing scene from House on the Edge of the Park, before things go very sour for its uppity class party hosts, is probably another reason, too.
* Other than Il Corpo di Linda, the soundtrack to The Pyjama Girl Case is ruined by French singer Amada Lear sounding like a heavily sedated Marlene Dietrich struggling to remain conscious and in tune. If only the much preferred trailer music was included instead as it knocks, before Lear’s awful song plays near the end. No idea if Ortolani was responsible for it, though.
The 'Swinging Sixties' might have brought to the world free love and hairy hippies, but it was also responsible for some ridiculously long songs like The Chamber Brothers' The Time Has Come Today and The Doors' hilariously named The End. Iron Butterly's seventeen minute black mass opus In-A-Gadda-Da-Vida is a prime example of a song desperately needing an editor like a Christopher Nolan movie, as it's particularly ruined by a singer who fancies himself as some kind of demonic hippie and a tuneless improv session with an organ and a screeching guitar dominating much of the song.
Much like the medium of film, for anything that's a hit, there's the Italian rip-off. Therefore, I'm thankful there's a version which addresses my issues with the original by ditching the creepy pub singing and impromptu tune testing and opting for a short and swift, funkier instrumental instead. Originally appearing in Massimo Dallamano's film adaptation of Oscar Wilde's The Picture of Dorian Grey, Peppino De Luca's (bootleg) soundalike of In-A-Gadda-Da-Vida is a much more tolerable version of the song. It doesn't require the aid of Francis Dolarhyde shooting cops in Manhunter (1986), Bart Simpson replacing the hymn sheet, or Nas to rap over it just to maintain my interest like the original.
Peppino De Luca (AKA Giuseppe De Luca) - Rito a Los Angeles (3° Version)
Dorian Grey OST, 1970
It's too bad this bootleg version ended up being used for a scene in the all-star ridden, heist comedy Ocean Twelve (2004) as it inevitably brought about a bunch of internet know-it-alls in the comments section claiming it was produced by David Holmes, Michael Viner's Incredible Bongo Band and of course Iron Butterfly.
Welcome to the annual John Carpenter birthday post, where I briefly write something about the gawd and fake it like I planned it.
The great man might not have helmed Halloween III: Season of the Witch (1982), but he certainly had his hand all over it; from writing, producing and scoring it. Much like his remake of The Thing (1982), folks hated on the film, largely because of the notable absences of Michael Myers, Laurie Strode and Dr. Loomis. Personally, I always thought the haters were fools as it's the second best film in the entire franchise. Audience approval has been much kinder since then, thankfully.
John Carpenter & Alan Howarth - Main Title/Chariots of Pumpkins
The soundtrack is completely stellar, thanks to an incredible synth score from both John Carpenter and Alan Howarth; Personal favourites being the Main Title and Chariots of the Pumpkins which perfectly compliment one another as one epic track, in my opinion.
Can't believe I've not done a proper dedicated post on one of Carpenter's films yet.
Mondo Boys & Nisalda Gonzalez - Find Me in the Fall (scene)
The Mortuary Collection soundtrack, 2020
2020 might have been annus horriblis to many, but this blogger looks upon it with fondness. It's notable because I was actively encouraged to watch movies all day everyday by the science boffins while folks were losing their shit having to stay home - that's a luxury I wish I had right now!
The entertainment industry took a major hit, but there were a few gems here and there. Among them was Ryan Spindell's horror anthology The Mortuary Collection; boasting Clancy Brown's most memorable performance since he played Private (formely Sgt.) Zim in Starship Troopers (1997). Avoiding all spoilers, a cool scene from The Mortuary Collection is a sixties era college party featuring the song Find Me in the Fall by Mondo Boys & Nisalda Gonzalez. Incidentally, the song made it onto my Year by Ear post.
Nancy Sinatra & Lee Hazelwood - Summer Wine
Nancy in London album, 1966
Find Me in the Fall sounds an awful lot like Nancy Sinatra and Lee Hazelwood's Summer Wine. Rip off or homage, I'm not complaining since I enjoy them both. Considering the film's trailer also features a choon obviously reminiscent of Nancy Sinatra's most famous song, I kind of respect its audacity, regardless. It also has me hoping for more retro themed genre films to stylistically go beyond the eighties, which has been milked to death in appeasing Gen X and early millennial film geeks.
Dada Debaser hasn't compiled a Best Films of the 1960s list, but it's a safe bet it wouldn't be like the predictably boring ones by elitist cinephiles.
There's a one word answer why Faster, Pussycat! Kill! Kill! (1965) is on my shelf, and why my copy of La Dolce Vita (1960) is probably in some third world landfill site; soulful!
In the meantime, here's a furious compilation of vintage jams I'd put in the juke box if I ever ran a fleapit dive for all the beat girls, motor psychos and astro-zombies:
Most of these songs were sourced from a bunch of old compilations, particularly from the Strip label. Regret not copping more of them back in the day as they go for a hefty price these days. In any case, I'm thankful for the ones I have.
Always get a buzz whenever my way favourite interests occasionally combine. In this case, it's whether the west coast rap group, known as The Pharcyde, sampled Joseph Green's The Brain That Wouldn't Die (1962), or not?
The cult-classic, sci-fi horror features Abie Baker's 1959 single The Web; notably, when the mad doctor is on the prowl for a fine, young woman's body to replace the one his fiancée lost in a car accident. Cue curb crawlin', fleapit nightclubs scenes and plenty of ogling. Although not credited anywhere, the sleazy trumpet horn sounds identical to the one used on The Pharcyde's 4 Betta or 4 Worse (1992). Also, there's the disturbing phone call segment on the third verse of their song containing these lyrics: "I'll take a hammer and start to drill/ Your skull, and then I'll really start/ Picking, your brains cells, I will be/ Licking, mm mm mm mm! Okay?/ You taste so intelligent." Can't just be a coincidence with both a horn sample and those lyrics, can it?
Ask me to explain the difference between the sounds of bossa nova and samba music and you'll get the Zac Galafianakis gif expression from me, but I do have a fond appreciation for Latin America's grandioso film and TV composer, Lalo Schifrin.
Perhaps his most famous theme would be the one he composed for the American espionage series Mission: Impossible (1966 - 1973). Its legacy has survived from one generation to the next. Sincerely hopeful Schifrin's theme will
out live Tom Cruise's cultural appropriation of the franchise in the
same manner it lived on long after the series originally ended.
Call it nostalgia, but Lalo Schifrin's soundtracks always felt like an additional score to that imaginary movie me and my mates acted out in the school playground many decades ago. From funky west coast jazz vibes matching Steve McQueen's cool swagger, to that nasty Roobarb & Custard inspiring electric guitar riff and the sound of a funky drummer complimenting Clint Eastwood's supercop Harry Callahan, they left an indelible impression on how a score could bolster scenes in a film.
Lalo Schifrin's scores also resonated with other people too; particularly other musicians. Always entertained by hearing a recognisable part from a film in a song, and hearing Schifrin would leave me buzzing like Zammo in Grange Hill. His music is an invaluable treasure trove for sinister sounding loops and hard drum breaks in sample heavy music:
Well done to AZ and DJ Premier for sampling the best bit fromThis Side of Forver, one of my least fave Schifrin tunes, and churning it into a five star classic.
Also, I had no idea Lalo Schifrin worked with Alice Cooper on I Am the Future for Class of 1984 (1982) until I watched the film again last year. Doing this blog has been educational.
Doubt Les Frisson des Vampire AKA The Shiver of the Vampires would make it in my personal Top Five films by fantastique director Jean Rollin, but I do know it's blessed with an incredible soundtrack that I sadly still don't own a physical copy of due to it being OOP and selling for stupid prices.
Les Frisson des Vampire OST is comprised of some very short and sweet acid folk and trippy sound effects which provide Rollin's film with one of the most haunting soundscapes from that period. Highlights include Isolde, Sleeping Beauty (Samba des Vampires), Flightless Bird, Envol Vers la Folie and of course the title track, Le Frisson des Vampires.
The band Acanthus was an alias to the Gallic, teen, psycherock group Unity. During their very short time together, they only released two singles; their final effort O Wa Nou Me Nou Ma, featured a fitting homage to guitar god Jimi Hendrix for its B-side song. Not sure if Rollin gave them the soundtrack gig on these tunes alone, but I am thankful his film led me to their head-nodding, fleur power number, regardless.
Unity - Jimi (En Hommage A Jimi Hendrix)
O Wa Nou Me Nou Ma single B-side, 1970
Dada Debaser Bonus:
There must have been something in the Perrier in 1971, since the Belgian erotic vampire film Daughters of Darkness*was also blessed with a magnifique soundtrack by the French composer, François de Roubaix. Sample heaven ever since.
* Daughters of Darkness happens to be a film with Delphine
Seyrig in it where I'm not instantly repelled by anyone hailing it as a classic film,
unlike the overrated shite that is Last Year at Marienbad (1961), or Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975); a film that I refuse to waste three hours of my life while she cotches in a kitchen.
Can't comment on Hubbs' theory regarding Blue Öyster Cult's Don't Fear the Reaper being a fanbase litmus test, but I do know his mate, Joe, was the ginger, Grunge looking head from The People Under the Stairs (1991); and more importantly, three instances where the song fits perfectly in either a horror film or television series:
Halloween (Pot Smoking scene)
John Carpenter, 1978
According to IMDb, the first time Don't Fear the Reaper made an appearance on film was in John Carpenter's horror classic, Halloween (1978). It might also be the very first time I ever heard the song for that matter.
It's low key inclusion works beautifully in this pot smoking scene. Much like Dr. Loomis, the song serves its purpose like an ominous prophet of doom. The "my dad!" moment where Annie spot her father's car, and who happens to be Sheriff Brackett, conveniently has two purposes: the universal stoned teens getting possibly caught with drugs scenario, and the viewer learning that Haddonfield's finest has stolen some William Shatner masks, is tooled up and ready to party for the night.
Sadly, this wasn't the only time the song made an appearance in the franchise: both Rob Zombie's awful remake and David Gordon Green's travesty of a "requel" trilogy incorporated it for the sake of nostalgia.
The Stand (Opening Credits scene)
Mick Garris, 1994
Props to Mick Garris' opening credits sequence from the 1994 TV mini-series, The Stand appearing early on in what's otherwise six hours of my life I'll never get back. Despite being checked out by the series, the opening credits were, and still are, TV excellence. So good that they play out in my
mind's eye whenever I hear the song.
It's Armageddon time for us all as a deadly virus finds its way into the world. The way the camera hauntingly pans over various areas of the military complex and its dead occupants while the song plays is chillingly effective. The end of days has begun.
I can barely remember anything else from The Stand other than Rob Lowe being in it, the demonic Randall Flagg reminding me of Billy Connolly, and a nuke going off in Las Vegas, which was nowhere near as awesome as I hoped. Probably explains why I haven't really checked for anything else adapted from Stephen King ever since, with the exceptions of The Green Mile (1999) and The Mist (2007).
X (R.J's Death)
Ti West, 2022
Ti West's return to making horror films with not one, but two fine films, was a sterling comeback. X was a wonderful slasher period piece that evoked the early films of Tobe Hopper and general seventies grindhouse. A slow burner for sure, but the journey was just as much fun as its gruesomely final destination. Mia Goth became 2022's face of horror well before that prequel monologue when she grossed me out as the geriatric and horny psychopath, Pearl. The scene where she's turned down from her sexual advances by R.J while Don't Fear the Reaper blares out from his car's stereo, is a sight to behold. The spray of blood over the car's illuminating headlight, basking the gruesomely violent murder scene in a crimson red is Argentoesque to say the least. Absolutely beautiful.
Sadly, the legacy of the song has descended into insufferable brainlets reviving an ancient meme from a primordial era SNL sketch, and YouTubers incorporating it their awful fan videos, which have successfully rick rolled me while searching for actual ripped movies scenes on the net. Might explain why I prefer B.O.C's Godzilla these days.
Following on from my recent John Carpenter post, here's a trivial, but no less interesting follow-up.
The Thing (Superstition scene)
John Carpenter, 1982
Can't really recall when I first heard Stevie Wonder's classic song Superstition, but my mate Chris always swore it was featured in a scene from what's arguably's John Carpenter's best film, The Thing (1982). Always thought he was talking B.S as I never remembered it appearing in the film. Almost forty years later (that's when I finally bothered to check), the internet has proven him right. It's also listed in the Alternate Versions section of the film on IMDb, meaning it's been permablocked from my mind, thanks to whoever edited out of the film:
Stevie Wonder - Superstition
Live on Sesame Street, 1973
Concluding this post by stating that the best
live version of the song isn't from some candle-lit, intimate gig attended by chin-stroking music journos and bourgeois elites,
but rather when Stevie's band performed it on the kids show Sesame Street
(1968 -) in 1973. A ground zero event. From that day on, all subsequent live musical performances must have been rendered redundant for the lucky people who were on the set.
Celebrating John Carpenter's birthday today with a prime example of the legendary film maker's influence upon popular culture.
The BBC series on film, Moviedrome was like Obi-Wan Kenobi to your humble host, as it helped me take my "first step into a larger world". My discovery of John Carpenter's siege thriller, Assault on Precinct 13 (1976) was when Alex Cox first introduced it back in 1990. This wasn't my first Carpenter film, but it was an early example of a developing appreciation for certain film makers.
John Carpenter - Assault on Precinct 13 (Main Title)
Being a teenager at the time, imagine my surprise when I first heard that opening main theme blaring out and realising this was where Bomb The Bass got that awesomely catchy riff for the dance tune Megablast; a track forever associated with the Amiga shoot 'em up game, Xenon 2: Megablast (1989). In hindsight, this was perhaps the earliest example of Carpenter's presence being felt not just in cinema, but in other forms of popular entertainment for yours truly.
Since then, Assault on Precinct 13's theme and Megablast have been the select few pleasant and permanent earworms in this blogger's noggin. Cheers, J.C! Happy 75th!
EDIT: The day after this post, American Genre Film Archive (AGFA) unveiled the 4K restoration trailer for the upcoming cinema screening of Assault on Precinct 13. Deaf Crocodile has been working on this since the lockdowns, if I remember correctly.
Ain't it funny how my favourite genres in film and music were once treated like red-headed step-children back in the day? Mainstream critics turned their noses in the eighties, but things done changed in the nineties and these two passions of mine were crossing over with more frequency. Mobb Deep's Prodigy dropped the lyrics "stab you in your brain with your nose bone," became the soundtrack to Doug's death scene from Friday the 13 Part IV: The Final Chapter (1984). That's why I've always found it fascinating when other like-minded people share their passion between the two; film critic, Mike Bracken, AKA The Horror Geek, dropping rap references in virtually all his film reviews, or that Moodz616 podcaster showing off his rap collection in between all that Italian Horror love. On a more refined tip, I once copped the utterly surreal The Hourglass Sanatorium (1973) from Mr. Bongo's boutique film label many years back.
Anyhow, with all that rambling out of the way, here are my greatest nineties Rap songs that have been sitting in my draft box for ages.
*Was only able to find a fan video of this song online with the original and better lyrics. ** Really ought to be the official video.
Dada Debaser Notes:
Some of these I was listening to when they originally came out, while others were discovered later on via various Rap forums.
As expected, a bunch of songs I thought were from '90 turned out to be from '89, but surprisingly, a bunch of songs that I thought were from 2000 happened to be from '99. Rap finds a way, I guess.
As someone who's closer in years to a Freedom pass than a Student pass, there's really no point in an old timer posting their boomer choons on the net. There is every point in having it logged here at my personal fortress of solitude, however, for the inevitable, "so that's where my head was at in 2022" acknowlegment when scrollling back here and enjoying all the benefits of free travel in the city.
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