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Ryan’s 150 Favorite Films: Number 121, Sleepaway Camp (1983)

One of the most frequent questions I am always asked being the host of the greatest movie podcast ever (opinions may vary) is “What’s your favorite movie?” That answer has been the same since I was 11 years old. But it also isn’t as easy to explain why I love some movies more than others.

As an art form, movies are by their nature interpretative. Some people will point to a film’s box office total as a barometer for a film’s quality, this might not be true again because although it might be popular to the masses it might not appeal to you. I am looking at you Avatar, which is not one of my favorite films, not by a longshot.  

Also, if the film wins an Academy Award for Best Picture, that hardly means it’s one of my favorite films, looking at you The English Patient, in fact I hardly agree with the Academy. Having said that, I am sure that some people love Avatar and The English Patient. And that’s what makes movies so great.

I, also am not a professional critic. I love film. I try and find merit in all film. As a host of a podcast that attempts to give every movie a chance, I believe that is the best way to approach movies, let the lights go out and try and enjoy yourself. You might find a “diamond in the rough.”

When thinking of my favorite movies to share with you, my loyal listeners, I thought 100 wasn’t going to be enough. So, I am proud to present my 150 Favorite Films, right now. These will change, I know they will.

See you at the movies!

***Spoilers Ahead!***

121. Sleepaway Camp (1983) Directed by Robert Hiltzik

The Movie: It’s a beautiful day at the lake, John (Dan Tursi) and his boyfriend Lenny (James Paradise) are taking John’s children, Angela and Peter out for a boating trip. When the boat capsizes, John and his children try to swim to shore. But they never make it. They swim right into the path of a speeding boat. The accident kills John and Peter, leaving Angela (Felissa Rose) to leave with her eccentric Aunt Martha (Desiree Gould).

Several years have passed and Angela and her foul mouthed cousin Ricky (Jonathan Tiersten) are sent to summer camp at Camp Arawak. There Angela is the victim of bullying, especially by fellow camper Judy (Karen Fields). Not to be outdone, the camp consolers also tease Angela, lead by Meg (Katherine Kamhi).

A lot is wrong at Camp Arawak, the head cook Artie (Owen Hughes) sets his sights on Angela. Artie attempts to sexually assault Angela and is attacked by an unknown assailant. The camp owner Mel (Mike Kellin) doesn’t seemed to worried and deems Artie’s scalding by boiling water an accident.

Angela continues to be the subject of bullying, this time it’s Kenny (John E. Dunn) and Mike (Thomas E. Van Dell). Ricky has had enough and along with his friend Paul (Christopher Collet) get into a fight with Kenny and Mike. Paul befriends Angela and asks her to a movie. Kenny doesn’t make to the movie as he drowned, also ruled an accident by Mel.

At the movie Paul puts the moves on Angela and kisses her. Angela is teased by Billy (Loris Diran), who meets his end by being stung to death by bees. Finally, Mel thinks that there might be a killer at the camp.

After being kissed by Paul again, Angela struggles with emotions from her childhood. She flashes back to seeing her father in bed with another man. This leads to Meg seducing Paul and them kissing, only to be found by Angela. Paul attempts to explain himself to Angela, but Meg and Judy intervene and throw Angela into the lake. To add insult to injury, Angela also has sand thrown at her by the children at the camp. When she tells Ricky, he vows revenge. Meg takes a shower and meets her end by the point of a knife.

Paul tries to explain himself to Angela at the camp dance and tells Angela to meet him by the water. Mel soon finds a mutilated Meg and four children literally hacked to pieces. The night of terror does not end there as Judy is murdered by a curling iron in the um lady parts…

Mel believes that Ricky is the killer. Mel tracks Ricky down and starts to wail on him. Mel takes an arrow to the throat for his effort, meaning Ricky is not the killer.

Police arrive at the camp at start searching for the missing campers. Paul and Angela are near the lake and Paul asks Angela to go for a swim. Ricky is found unconscious by police and fellow campers have found Angela.

Angela is naked, holding Paul’s decapitated head. We soon learn that Angela died in the boating accident, and Peter has been forced to grown up as a girl after Aunt Martha got custody of Peter. Since Martha already had a son, she raised Peter as Angela, the girl she always wanted.

Why I Love Sleepaway Camp (1983): The slasher phase had many knockoffs and cheapies made in the early to mid 80’s. To stand out, not only did the movie need a hook, but also the body count we as audience members craved.

Like a bolt of lightning Sleepaway Camp struck me when I first saw it. Another Blockbuster Video favorite, I immediately latched onto the weirdness of the whole picture. And the ending is without a doubt one of the most shocking you will see in film.

The tone of the film is hard to pin down at first. It almost plays as if John Waters were to make a slasher film. The over the top acting by some of the actors, especially Desiree Gould, Aunt Martha gave the film a surreal quality. But there is more to Sleepaway Camp. First and foremost, the two leads Felissa Rose and Jonathan Tiersten elevate the script into something special.

Rose’s shy and timid “Angela” makes her reveal at the end that more shocking. And Tiersten is an all-star and hilarious. His intensity he brings to Ricky is palpable, but what makes him a fan favorite is his line delivery, never over the top, always on point. Maybe his most memorable line from the film;

Billy: Eat shit and die, Ricky!

Ricky: Eat shit and live, Bill!

Sleepaway Camp lures you in with a promise of another summer camp slasher flick. And while it does deliver the goods, its unconventional approach to storytelling and a shocking ending make it an all time classic slasher.

Bonus! Tales from Behind the Scenes of The Reel Nerds Podcast:

I can say unequivocally too that Jonathan Tiersten is a great dude. If you allow me to reach back into my Reel Nerds memories for just a moment to tell you a story.

At Mile High Horror 2012, we were given a small booth in a corner with an opportunity to interview the celebrities there. Being really new to the scene, we The Nerds kinda just sat back and interviewed the film fans.

That changed when a funny, and sweet man approached our booth and asked us what we do. I told him and as I was talking to him, it hit me. This is cousin Ricky from Sleepaway Camp! Not only did Jonathan sit down for a long interview, he also introduced to other celebrities there. Like Jeffrey Reddick, writer and creator of Final Destination. Jonathan also became a real friend. No joke or name dropping going on here. He is a genuinely nice person. He made us legitimate at the Horror Show and gave me confidence to talk to other celebrities, Jonathan told me, “what’s the worst they can say, no?” He was right of course, and I learned that most will sit down with us.

Also, Jonathan agreed to be in our silly “Podshow”. Not only that but playing a version of himself where he is a killer. He invited us to his home. Let us film with him all day and made us ribs when we were done. That’s not the end either. When we debuted the short at a film festival, Jonathan agreed to make an appearance not only as the star of the short film, but as a judge as well. I am not sure how many of my listeners and readers are privy to how much Jonathan helped us in the beginning, but I am forever in his debt because he did.

Announcement, Top Lists

Ryan’s 150 Favorite Films: Number 136, Roman Holiday (1953)

One of the most frequent questions I am always asked being the host of the greatest movie podcast ever (opinions may vary) is “What’s your favorite movie?” That answer has been the same since I was 11 years old. But it also isn’t as easy to explain why I love some movies more than others.

As an art form, movies are by their nature interpretative. Some people will point to a film’s box office total as a barometer for a film’s quality, this might not be true again because although it might be popular to the masses it might not appeal to you. I am looking at you Avatar, which is not one of my favorite films, not by a longshot.  

Also, if the film wins an Academy Award for Best Picture, that hardly means it’s one of my favorite films, looking at you The English Patient, in fact I hardly agree with the Academy. Having said that, I am sure that some people love Avatar and The English Patient. And that’s what makes movies so great.

I, also am not a professional critic. I love film. I try and find merit in all film. As a host of a podcast that attempts to give every movie a chance, I believe that is the best way to approach movies, let the lights go out and try and enjoy yourself. You might find a “diamond in the rough.”

When thinking of my favorite movies to share with you, my loyal listeners, I thought 100 wasn’t going to be enough. So, I am proud to present my 150 Favorite Films, right now. These will change, I know they will.

See you at the movies!

***Spoilers Ahead!***

136. Roman Holiday (1953) Directed by William Wyler

The Movie: Princess Ann (Audrey Hepburn) is on a tour of European cities. She grows tired of the duties that she must attend to as a princess and longs to just have fun.

Joe Bradley (Gregory Peck) is an American journalist who is reporting for “American News Services” in Rome. Fate intervenes when Princess Ann escapes from her embassy while on the influence of a drug given to her by her doctor and Joe finds Princess Ann, a little worse for wear. Not realizing that she is Princess Ann.

Thinking that she is just drunk, Joe arranges for her to get a cab and take her to wherever she wants to go. The cabbie does not want the responsibility of taking care of so she stays the night in Joe’s apartment.

The next morning Joe learns from his editor Mr. Hennessy (Hartley Power) that the Princess had a sudden illness and when Hennessy shows Joe a picture of Ann, he realizes that the woman in his apartment is the Princess. Joe tells his editor that he will get an exclusive interview with the Princess. He offers Joe $5,000 for the story but bets him only $500 he won’t be able to get the interview.

When Joe gets back to his apartment, he offers to take “Anya” around town, on a Vespa. She declines and goes exploring on her own. Joe follows her and “happens” to run into Ann. Joe is able to convince Ann to spend the day with him this and they go to several places including the Colosseum.

Later in the night they go a party, where she is spotted and taken away by government officials to bring her back to the embassy. Joe and his friends are able to wrestle her away from the officials and they run away. Joe is knocked into the water and Ann jumps right in after him. As they get out of the water, they kiss on the riverbank and head back to Joe’s apartment. While drying her clothes, Ann tells Joe that she must go back to the embassy and fulfill her Royal Duties.

Joe drops Ann off around the corner of the embassy and they kiss one last time. Joe informs his cameraman Irving (Eddie Albert) that he will not write the story about the day he spent with the Princess, but that Irving is free to sell the photos.

The next day, when Ann meets the press and as she greets them all, Irving gives her all the photos he took of her. Ann and Joe have small talk and she leaves. Joe leaves too, alone.

Why I Love Roman Holiday: Maybe the most adorable romantic comedy of all time. Everything in Roman Holiday works. The amazing location adds to great cinematography and an exotic feel to the film. The chemistry between Peck and Hepburn is also second to none. Peck is always a charmer and Hepburn is so easy to love.

Nominated for 10 Academy Awards, which Hepburn won it is an easy film to love. Hepburn is great being funny and proper. The heartbreaking ending just adds to how great the film is. A lot of times Hollywood will look for a way to have the romantic interests end up together, here they are kept apart, and the way the film unfolds, it breaks your heart.

Interesting note on the film. The picture won best story at the Academy Awards, however due to the writer of the film, Dalton Trumbo being black listed in Hollywood, Ian McLellan Hunter fronted for him and took the writing credit for the film. Trumbo would not receive the recognition he deserved until 1993.

Roman Holiday is a beautiful film, shot in a beautiful location that is the best that Hollywood has to offer.

Announcement, Review, Top Lists, Uncategorized

Rod Stewart: Year by Year, Track by Track Part 5 1975-1978

Part 5: In Which Our Hero Polishes HIs Sound, Falls in Love with a Bond Girl and Other Musings of a Rock ‘n’ Roll Superstar

It wasn’t official, but The Faces were for the most part broken up. With Ron Wood being on “loan” to The Rolling Stones the writing was on the wall. Rod Stewart also was looking to change. It started with Britain’s crippling taxes, 83%. Rod decided to pack up and leave for Los Angeles, with his new girlfriend in tow.

Britt Ekland was a beautiful Swedish model/actress who had appeared in lots of films, including The Wicker Man and perhaps most famously as Goodnight in The Man with the Golden Gun. Rod had met Britt through Joan Collins backstage at a Faces gig in 1975. Rod and Britt became tabloid fodder and they ate up the celebrity life style of Los Angeles.

Stewart had grown tired of the sound of his earlier albums. Although Smiler wasn’t a total failure, it did seem like his creative juices were stuck. Stewart had essentially in five years made nine albums with the same musicians and while they were all brilliant he felt that he needed to change his sound.

In comes producer Tom Dowd. Dowd felt The Faces could not be flexible enough to play the sound that Rod was looking for. In fact, The Faces would go on record on not liking Rod’s new approach to music and when they played their final gigs, the only song from Atlantic Crossing they would play live was Three Time Loser.

So Tom Dowd enlisted help from musicians that he had worked with and they were doozy’s. The MG’s, Al Jackson, “Duck” Dunn and Steve Cropper. Dowd also got the Memphis Horns, giving Rod a much more layered and rich sound to his first album released on Warner Bros. Before Stewart hunkered down to really make his sixth studio album, he and his new studio band, headed into the studio and produced three songs.

The MG’s Sessions April, 1975

158. To Love Somebody (Barry Gibb, Robin Gibb)

A hit song for The Bee Gees would seem like an odd choice for the newly formed frontman and studio band but it was right up their alley. From Booker T and the MG’s playing on Stax records and Rod’s soulful voice, it seemed like a perfect get to know each other.

In fact, this song seemed lost until 1990s Storyteller, where Rod says he discovered it in an old jacket pocket. Two other mixes of this song have been found since, each is pretty close to one another, with some added strings to the 2009 extended Atlantic Crossing and it also appears on The Rod Stewart Sessions. Rod losses the backing vocals on the chorus and just sings with his heart on his sleeve. I prefer the Rod Stewart Sessions version as it brings Stewart’s vocals out more and he owns the song.

Grade: B+

159. Holy Cow (Allen Toussaint)

First released by Lee Dorsey in 1966 in a much more big band style, which you should seek out. Rod funks it up and speeds it up. And in doing so freaking crushes it. I am not sure if this was ever intended for Atlantic Crossing or more of just a jam and putting something on record to see how it sounds, but it doesn’t matter, I love it. The fun bass line, and Stewart’s fun reading and phrasing make this song an absolute winner.

Plus, bonus points for Stewart yelling, “Shit!” At the end.

Grade: A

160. Return to Sender (Otis Blackwell, Scott Winfield)

When you think of Return to Sender your mind goes to to Elvis and his movie Girls! Girls! Girls! And you would be right. An early rock ‘n’ roll classic from the King of Rock ‘n’ Roll.

Stewart had covered Presley before and here the bass line carries it again. Stewart decides to have a more laid back reading of this song. It is lazy and fun. Rod has grown musically since his Jailhouse Rock days of The Jeff Beck Group, but it totally works here.

Grade: B+

The early returns on our Hero’s new sound were extremely positive. Rod, Tom Dowd would spend the three months putting together a new sound for Stewart and bringing him closer to the sound he had always craved.

Atlantic Crossing August 15, 1975

161. Three Time Loser (Rod Stewart)

“How dare you have a party, In a Chelsea basement, when an poor excited Jezebel said come outside. She felt me up and kissed my face, put her dirty hands down in my pants…” so goes the story of a man three times stricken by venereal disease. Yes, a song about an STD.

Any concern that Rod might lose his wild ways without his Boys from previous records is immediately dismissed on his first song on Atlantic Crossing.

Not only is the music catchy, but so too are the lyrics. They are funny and clever and I am also not 100% certain our Hero is singing the lyrics that are printed in the official music sheet book my dad gave me.

It doesn’t matter, Three Time Loser rocks.

A slightly different mix appears on disc 2 on the deluxe version released in 2009, which Stewart’s vocals are a little more out front.

Grade: A+

162. Alright for an Hour (Rod Stewart, Jesse Ed Davis)

Guitarist Jesse Ed Davis lends Rod a hand in writing Alright for an Hour. An infectious song about not caring if you have a woman when you have “my dog and my car, the best friends I’ve found so far.”

Too many times on Rod Stewart albums his clever writing is over shadowed by the man himself. A lot of his reviews, the “reviewer” is reviewing Rod Stewart the jet setting, blonde chasing superstar, not his incredible catchy and often times heart wearing on your sleeve song writing. On this track he is at his witty best. I am not sure if Britt Ekland approved of this song, but you can’t change the man.

Grade: B+

A different version of Alright for an Hour appears on disc 2 of the 2009 deluxe version. Slightly different lyrics, which aren’t quite as good as the finished product, the meat and potatoes are there however.

163. All in the Name of Rock ‘N’ Roll (Rod Stewart)

Drums and guitars open a song about what it’s like in the day of a rock ‘n’ roll band. From getting high, looking good and causing trouble, Rod touches pretty much all that there is.

Not quite as good as the opening two tracks, All in the Name of Rock ‘N’ Roll, is nevertheless another catchy song that keeps Atlantic Crossing going.

Grade: B

A less polished version with appears on disc 2 of the 2009 deluxe version of Atlantic Crossing

164. Drift Away (Mentor Williams)

A pretty straight forward cover of a song made popular by Dobie Gray in 1973. The best part of Rod’s version is the sudden stop of the chorus after the third verse, where our Hero sings his heart out.

Rod doesn’t bring anything new to the recording, but he does bring his A-game in the voice department which makes it fine cover.

Grade: B

On the 2009 deluxe version disc 2, the mix is slightly different but sounds really close to what is on the original album.

165. Stone Cold Sober (Rod Stewart, Steve Cropper)

Rod teams up with Steve Cropper for a rollicking good time. Rod again flexes his incredible song writing ability to make a song catchy, funny and straight up rock ‘n’ roll. Atlantic Crossing was recorded in part in a “dry county”, meaning no booze. Which I am sure is the inspiration for the song.

Rod has fun with the second verse, which is my favorite on the album;

“Never found a dime in the gutter, always get my best friends drunk, if the president tries to calls me, say “Rodney come on over for lunch, I’d say “Gentlemen excuse me please, but I am busy with my buddies up on cloud thirty-three.”

Grade: A+

166. I Don’t Want to Talk About It (Danny Whitten)

Rod divided Atlantic Crossing into a “fast half” that opened the album and a “slow half”. The second half of the album opens with a stunning reading of the late Danny Whitten’s I Don’t Want to Talk About It. Although Rod ditched the drums for this song, letting the guitars and strings fill the listeners ears with powerful music.

Rod breaks your heart with a haunting reading, phrasing the words in a way that I am sure Danny Whitten would’ve been proud. Rod himself said “this is one of the most poignant songs written in the rock & roll genre.”

Still played at his concerts to this day, it doesn’t leave a dry eye.

Grade: A+

The alternate mix that appears on DIsc 2 of the deluxe version adds more guitar flourishes which take away from the impact of the song, I am glad that Rod and company decided to strip it down.

167. It’s Not the Spotlight (Barry Goldberg, Gerry Goffin)

Longing for a return to the spotlight, Rod sings of wishing for it to shine again him, and how the fame has slipped away.

A mellow guitar and a nice beat of the drums pepper It’s Not the Spotlight which make it catchy but it doesn’t quite deliver the punch of the other songs on the album. Rod is however in top vocal form which makes it an essential listen.

Grade: B

A slightly different mix appears on disc 2 of the 2009 deluxe version, it really just strips the album version of the over produced moments, allowing the guitars to heard more, I prefer this version.

168. This Old Heart of Mine (Lamont Dozier, Brian Holland, Eddie Holland, Sylvia May)

A song that Stewart obviously adores as he loves the line, “this old heart of mine” as he would use it as a place holder for lyrics when he was trying to work through new songs.

On Atlantic Crossing, our Hero slows it down from the Isley Brothers hit, drops a verse and makes it much more romantic and almost as if he wrote a letter and is trying to when his girl back.

Grade: A

In 2009, two more versions of “This Old Heart of Mine” appear on both the deluxe version of Atlantic Crossing and the compilation, The Rod Stewart Sessions. The deluxe version is a more stripped down version, and not quite finished. On The Rod Stewart Sessions, we hear a little background studio chatter and the song then picks up. I actually prefer The Rod Stewart Sessions version as it is stripped down and beautifully sung.

169. Still Love You (Rod Stewart)

A sweet song about losing your love and reminiscing about the good times you had. Rod’s tender reading, and infectious chorus makes this mellow song a winner.

Rod again uses his boyish charm to sell the song,

“Oh darlin, didn’t I promise, I’d never go so far away again, but here I am writing this letter, goodbye to you my love, see you again…”

Grade: B+

A different mix appears on disc 2 of the deluxe version. Again we hear a much stripped down version, some different lyrics and phrasing, with Rod’s voice being front and center. It makes a mellow song mellower, it’s a winner.

170. Sailing (Gavin Sutherland)

If you wanted to have a song to close your night as a performer, it would be Sailing. Longing for someone that is separated by an ocean, Stewart gives an impassioned reading with his heart on his sleeve.

A massive hit in England, it never fully gained traction in the United States. Rod owns this song and it feels like he is singing it to you, or singing it to your love, in words you could never express.

Grade: A+

Two other versions of Sailing appear on both The Rod Stewart Sessions and Atlantic Crossings deluxe version. On the deluxe version, we get basically the same song, but it loses some of the embellishments. But for my money, the version on The Rod Stewart Sessions will give you goose bumps. Almost all the instruments are gone except a few, with Rod pleading his heart out, it is an absolute barn burner.

A couple of songs where lost to us fans, but dug up for the 2009 deluxe release of Atlantic Crossing.

171. Skye Boat Song (The Atlantic Crossing Drum & Pipe Band) (Harold Boulton, Annie MacLeod)

There are many versions of this song, most in a traditional Celtic style. Rod delivers a a hymn style with lots of back up singers and bagpipes and drums.

The song tells the story of Prince Charles Edward Stuart, his journey and how he escaped capture after his defeat at the Battle of Culloden.

I don’t think Rod’s version was released until 2009, but I could be wrong, as I can’t find any other mentions of the song before then. I had heard of it from a totally legitimate website that listed songs that Rod had recorded but were not released, I can’t remember the actual website and I am sure it doesn’t exist anymore.

Anyways, there are two versions of the song on the deluxe version of Atlantic Crossing. I prefer the version on disc 2 as it is just Stewart, no back up singers.

Grade: B

172. Too Much Noise (Early Version of Stone Cold Sober) (Rod Stewart, Steve Cropper)

Rod was working through the lyrics of “Stone Cold Sober” and landed on the chorus, “Too Much Noise”. The music is the same, but the lyrics are totally different. With the first two verses lifted from Stewart’s “True Blue” which both songs open with “Never been a millionaire”. I am sure Rod was trying to get the feel of the song and used lyrics he knew.

“Too Much Noise” is not quite done, in fact it probably was abandoned when Stewart thought of the title “Stone Cold Sober” and what the finished song was about. “Too Much Noise” is a blast however, and it would’ve been fun to hear a finished version, but I wouldn’t replace “Stone Cold Sober” in a million years.

Grade: B

Rod Stewart released Atlantic Crossing in the summer of 1975. The album shot to the top of the UK Albums chart and reached number 9 on the Billboard charts, vindicating Stewart’s desire for a new sound and a new direction.

The Faces were not quite done yet however and embarked on a tour. The last Faces show took place in Minneapolis on November 1, 1975. The other Faces members were not a fan of Stewart’s new sound and Rod was getting tired of making the same sounding album. Their split was inevitable.

Rod wasted no time getting back into the studio. In December 1975, Stewart started work on A Night on the Town. Rod also recorded some of the album in Colorado, my home state at the Caribou Ranch in Nederland.

A Night on the Town June 18, 1976

173. Tonight’s the Night (Gonna Be Alright) (Rod Stewart)

Stewart changed things up for A Night on the Town and opened the album with the “slow half”. The first song on the album is also the first single. The story in which our Hero tries to seduce a virgin and get her “upstairs before the night’s too old”.

Lyrically Rod sings lines that would make you blush and get it banned from the radio, especially “spread your wings and let me come inside.” It did not stop the public form adoring the song as it reached number 1 on the Billboard Charts.

The music is exquisite with a complicated opening which Stewart stated in Storyteller “We spent more time working on the somewhat complicated intro than the song itself.”

Grade: A+

Two different versions of “Tonight’s the Night” appear in 2009, one on the deluxe version of “A Night on the Town” and the other on “The Rod Stewart Sessions”. The opening on the deluxe version we learn that it was originally called “Golden Times” which Rod corrects the engineer by saying “It’s called “Tonight’s the Night”. It must have been a long time because he snaps back,”Well, make up your mind!”

Both versions have a slightly different intro, which Rod was eluding to in “Storyteller”. The opening two verses are nearly identical, with some slight variations on the lyrics, the last verse is completely different as Stewart sings; “Oo, baby when the daylight breaks, I walk you home and ease all your aches, but the sun should turn into rain, we will stay home and do it all again.”

Also these two version omit Britt Ekland’s French cooing for an extended play out by the band.

174. The First Cut is the Deepest (Cat Stevens)

To cover a song and make your own is something Rod Stewart is really great at. The First Cut is the Deepest is such a song. Rod’s version is so well known that when people cover it now they use the Rod Stewart version. On Cat Stevens’ version the chorus goes like this “when it comes to being lucky she is cursed, when it comes to loving me she’s worst, but when it comes to being loved she’s first.”

Rod drops the last part making the song much more heartbreaking. So so everybody else who has recorded it since. Sheryl Crow’s version completely apes Rod’s from the intro to the whole song’s arena ready sing along. But I can see why maybe people do not know Stevens’ version, Rod stated in Storyteller, “As I recall, nobody knew how the song went, apart from myself, so a phone call was made to L.A. and some madman had to go out and buy it, rush back, and play it on the phone with seven guys crowded ‘round the receiver on the other end.”

Stewart sings his heart out and gives yet another world class performance on how to be a rock star.

Grade: A+

Two different versions of “The First Cut is the Deepest” appear on the deluxe version of “A Night on the Town” and another on “The Rod Stewart Sessions”. On the deluxe version the lyrics are slightly different, the opening is more haunting, skewing he guitar for an organ. On “The Rod Stewart Sessions” the production is scaled way back, just Rod and a guitar, it is stunningly beautiful and I implore you to listen to this version.

175. Fool for You (Rod Stewart)

A mid-tempo song in which our Hero leaves his lover behind. Rod excels at these songs. His voice is in top form. I love the guitar work on this track. Rod yet again wears his heart on his sleeve with lyrics like “You’re my everything, but now you’re my end, it may be over, but just before I go, I can make a new start, But I can’t mend a broken heart.”

Grade: A-

176. Fool for You (Alternate Version) (Rod Stewart)

On the deluxe release of “A Night on the Town” a completely different version of “Fool for You” appears. Musically it is similar but the lyrics are not. Rod opens with “Ain’t love a bitch…” which us fans know Stewart will return to in two years on the album, “Blondes Have More Fun”. This version is not quite finished but it is so good lyrically. I love how he ends each verse with more of his under appreciated song writing, “Over and over again, you say that you won’t get hurt again, but here it comes, round and round on a carousel, you wanna get off but you know damn well that you like it.”

Grade: A-

177. The Killing of Georgie (Part I and II) (Rod Stewart)

Stewart’s telling of the murder of a gay friend is one of his most beautiful songs ever. The upbeat style to the song paints a vivid picture of a life gone too soon. The wistful and hopeful nature of the song is replaced with a senseless murder and the song never loses it’s upbeat tempo, which stylistically is a bold choice which makes the song more impactful.

Rod reached a crescendo and a sense of urgency and driving force behind the lyrics. It propels the song to its finish line, breaking your heart, while also making it race with the hope that his friend might survive, the nonchalant way Stewart sings “Georgie’s life ended there, but I ask who really cares?” Gives the listener i peek into the treatment of the LGBTQ community in the late 1970’s.

Part 2 pleads with Georgie to not leave, giving the song one last bittersweet moment.

Grade: A+

The deluxe version of “A Night on the Town” contains a stripped down version of Part 1 of “The Killing of Georgie” and with just a a guitar accompanying Stewart, this song would fit on to any of his early 1970’s album. Listening to the outtakes from Stewart’s career you soon realize he truly had never left his roots behind, he just added flourishes to the songs. In any event, seek this version out it makes a classic song that much better.

178. The Balltrap (Rod Stewart)

If Stewart was reflective on the “slow side” he wastes no time on the “fast side” telling us listeners that he hasn’t left The Faces completely behind. “The Balltrap” refers to a man’s manhood, lusting after a woman who doesn’t reciprocate the lust.

If “Tonight’s the Night” made you blush, then “The Balltrap” will have you in church asking for forgiveness, with deliciously inappropriate lyrics like “the first time I had you up on old Park Lane, you didn’t know my name, even when I came, as I recall, you let me walk home in the rain. You say I’m cute, but tell the truth, it’s my body you want with the red hot juice…” some one get the fire extinguisher!

Grade: A-

179. The Balltrap (Alternate Version) (Rod Stewart)

The deluxe version of “A Night on the Town” contains an unfinished version of “The Balltrap” with different lyrics, instead of being overtly sexual, this version is more about our Hero being tricked by a “big old girl who said do you wanna dance?”

It’s not quite finished, but it’s really funny.

Grade: B

180. Pretty Flamingo (Mark Barkan)

Manfred Mann scored a hit with “Pretty Flamingo” in 1966, Rod decides to lose some of the poppy-ness of the original, changing into more of a boogie.

It is fun, light song that I will never listen to without my mom saying this to me one day when she was riding with me in my car and “Pretty Flamingo” came on, and my mother said “I saw a male stripper perform to this song.” Um barf mom.

Grade: B

The deluxe version of “A Night on the Town” contains an alternate mix to “Pretty Flamingo” which is nearly identical.

181. Big Bayou (Gib Guilbeau)

Horns and violins pepper Stewart’s cover of a Cajun favorite, in fact Rod’s mate Ronnie Wood cut it the year before on his solo album, “Now Look”.

Rod’s version is more driving and goes without saying sung better as well. Wood has fun with it, but I think Rod’s band is tighter and sounds better.

Grade: B

A nearly identical version of “Big Bayou” that isn’t finished also appears on the deluxe version of “A Night on the Town”

182. The Wild Side of Life (Arlie Carter, William Warren)

Hank Thompson released “The Wild Side of Life” in 1952, as a country song. Stewart dirties it up nicely and adds a nice southern boogie to the song with fighting guitars.

And who can’t love the chorus “I didn’t know God made Honky Tonk Angels, I might have known you’d never make a wife, you gave up the only one that ever loved you, and went on back to the wild side of life.”

Rod transforms the song from heartbreaking to a fun bar sing along. You should listen to Thompson’s original to hear the contrast. It is quite eye opening.

Grade: A+

“Wild Side of Life” has a nearly identical alternate mix version that appears on the deluxe version of “A Night on the Town”.

183. Trade Winds (Ralph MacDonald, William Salter)

There are very few Rod Stewart songs I dislike, even fewer that I would skip. “Trade Winds” is my least favorite Rod Stewart song. He sings well, but the lyrics are dorky, the song is overproduced, and the wailing of the back up singers drive me crazy…some people like it, I am not one of them.

Grade: F

The alternate version of “Trade Winds” is not as intrusive as the finished product on the plus side it ditches the obnoxious back up singers, but I still am not a fan. If you want to compare the two, you can find it on disc 2 of the deluxe version of “A Night on the Town”.

Stewart had a few songs trickle out of his A Night on the Town sessions, some from 1976, and one that was lost until it was unearthed, and it is a doozy.

184. Rosie (Rod Stewart)

Of all the songs regulated to the b-side of a single and a missed opportunity for it to be on an album, “Rosie” to me is the biggest miss. How a song about our Hero running away with a woman named Rosie with a lively band, funny lyrics with my favorite being “but no more head behind the bicycle shed, I’m getting married on a state welfare!”

Every time, I hear “Rosie” I rack my brain with the question “how in the world was this left off the album and the dredge that is “Trade Winds” make the cut. Oh, well with modern technology I can add it to the proper album and leave “Trade Winds” off.

Grade: A+

Two more versions of “Rosie” pop up on the deluxe version of “A Night on the Town” and “The Rod Stewart Sessions”. On the deluxe version, the lyrics are still being worked on, with it almost resembling the finished product.

My favorite version is the acoustic version on “The Rod Stewart Sessions” where the song loses the big band feel, leaving behind just Stewart singing his heart out with a guitar. Chills!

185. Get Back (John Lennon, Paul McCartney)

Rod contributed to the soundtrack of an odd film where stitched together footage from World War II is shown with covers of Beatles songs. The critics hated the film, the soundtrack did not fair much better. Rod was singled out however as delivering a winning version of “Get Back”.

Rod wasn’t a fan though, when it appeared for the first time on a Rod Stewart collection all he had to say was “What’s this doin’ ere?”

Grade: B+

An alternate take of “Get Back” appears on the deluxe version of “A Night on the Town”.

186. Share (Rod Stewart)

Wow. Another song written by Stewart that was strangely left of the album and I had to endure over 20 years of “Trade Winds”. You see I started really getting into Rod Stewart around 1988 when I was seven and I only had what he had released to that point, it would not be until 2009 “Share” was released to the delight of this Rod Stewart fan.

I keep harping on Stewart’s writing because he doesn’t get enough credit, take this nugget from our Hero “Someone else, there may well be, who could steal your heart away but in your heart she was the only one”

Just like the producer at the end of this song, “ya, lovely!”

Grade: A+

A Night on the Town was another Rod Stewart hit. Reaching number 1 in the UK and number 2 here in the States. Selling over 3 million copies in those two countries alone. Stewart was riding high. I am sure in his eyes he made the right decision to leave The Faces and his old way of making records behind. I agree with Stewart as well. His sound is more polished and his albums were starting to have much more depth. His Mercury days are fondly remembered for a reason, but Rod would continue to evolve and continue to make hit records.

Rod jumped right back into writing songs and recoding in the studio, in between world tours. Rod would record his next album, Footloose and Fancy Free from late 1976 to early 1977.

Footloose and Fancy Free November 4, 1977

187. Hot Legs (Rod Stewart, Gary Grainger)

Rod had ditched (that’s a little harsh) Britt Ekland and the format of his last two albums for a more straight rock ‘n’ roll album. No longer divided into two halves, Stewart dives into funk and hard rock.

Hot Legs was my favorite Rod Stewart song for a long time. It’s funny, pure rock ‘n’ roll of fighting guitars and with new drummer Carmine Appice a really driving beat.

Rod’s sense of humor is on full display. With the opening of the song gets you in the right mood, “Who’s that knockin’ on my door, it’s gotta be a quarter to four, is it you again coming ‘round for more?”

Grade: A+

An early take of “Hot Legs” appears on “The Rod Stewart Sessions”. It’s nearly identical with a slightly different mix and ends more abruptly.

188. You’re Insane (Rod Stewart, Phil Chen)

The funk and rock are on full display on “You’re Insane”. I don’t want to make any assumptions, but this song seems to be calling out Britt Ekland. She and Rod had a very public and nasty split. She sued him saying she is responsible for his new wealth…

Rod is nasty to the woman on question on the track, but the catchy music and chorus make this track a winner.

Grade: A-

189. You’re in My Heart (The Final Acclaim) (Rod Stewart)

The sing along to end all sing alongs. Rod sings sweetly and gently to the love of his life. It is up to the listener if that love is a woman, or football (soccer). I think it’s both.

Stewart name checks his favorite clubs in the song, but my favorite bit is “the big-bosomed lady, with the Dutch accent who tried to change my point of view.”

I adore this song and is always a highlight live.

Grade: A+

An acoustic version of “You’re in My Heart” appears on “The Rod Stewart Sessions”

190. Born Loose (Rod Stewart, Gary Grainger, Jim Cregan)

The wistful “You’re in My Heart” gives way to Stewart declaring he is not going to be faithful because he was “Born Loose”. This song feels like another response to Britt Ekland, who wanted to marry Stewart. Stewart had other ideas, in fact he told reporters in 1976, “Britt and I will never marry. I value my freedom. Britt is closer than any woman has ever been to me, but there is no question of marriage.” (I don’t know which newspaper this came from. It was in a poster book my dad gave me of Rod Stewart. When I asked my dad where he got the newspaper clipping from, he couldn’t remember.) Britt was not amused and told Midnight “It was very hurtful to hear Rod talk about not marrying me.”

Yikes.

Grade: B+

191. You Keep Me Hangin’ On (Brian Holland, Lamont Dozier, Eddie Holland)

Rod took The Supremes monster hit and adds some sinister music to it. By doing this he strips it down to its emotional core.

Stewart also slows it way down, giving the song an organ intro that seems at home with the Phantom of the Opera. When the song kicks into gear it is a heavy rock song sung with gusto by Stewart. It might not be for everyone, especially with The Supremes version so etched into our minds.

Stewart delivers a hell of a performance, give the song a chance, it’s a brilliant cover.

Grade: A

192. (If Loving You Is Wrong) I Don’t Want to Be Right (Homer Banks, Carl Hampton, Raymond Jackson)

Stewart revisits a song that he first tried with The Faces that was to appear on “Ooh La La”. It didn’t make the cut.

A piano tinkle opens the song and it serves as a nice one-two punch with “You Keep Me Hangin’ On”.

Rod again is in top vocal form and you can tell by his singing that he adores this song. I don’t think it is quite as good as “You Keep Me Hangin’ On” but it is powerful. You should seek out the live version of this song that appears on “Absolutely Live: Deluxe Edition” it is awesome.

Grade: B

193. You Got a Nerve (Rod Stewart, Gary Grainger)

Another haunting break up song, sung with emotion and hurt by Stewart. If “Born Loose” and “You’re Insane” are hateful responses to his break up with Ekland, “You Got a Nerve” looks back more remorsefully at a crumbling relationship.

You can hear the hurt in Rod’s voice when he pleads, “Go away, go away, please please go away, I loved you once I don’t love you now, please please go away…”

Grade: A-

194. I Was Only Joking (Rod Stewart, Gary Grainger)

Two of Rod Stewart’s best written songs are on Footloose and Fancy Free. The previously mentioned “You’re in My Heart” and the absolute show stopper that is “I Was Only Joking”.

Conjuring up images of growing up, falling in love and just hanging with your friends is something we all relate to. Our Hero puts it into a wonderful song that has him”pouring his heart out in a song”.

This song touches me in my heart in a way I could never fully explain. A lot of my past loves and and I am sure my wife heard from me many times, “I was only joking”. When I think about my early life and where I am now, this song is always playing in the background of my slide show. I relate to it so much, with lyrics like, “now you ask me if I’m sincere, that’s the question that I always fear…”

Grade: A+

An acoustic version of “I Was Only Joking” appears on “The Rod Stewart Sessions”.

If A Night on the Town signaled the “new” Rod Stewart, Footloose and Fancy Free fully embraced it. The United Stated fully embraced this album as well as it sold over 3 million copies here alone. It soared to number 3 in the UK and number 2 on the Billboard Charts.

On The Rod Stewart Sessions us fans were promised a deluxe version of Footloose and Fancy Free. So on that compilation only one unheard song from those sessions was put on the album. We never got it due to supposedly weak sales of the deluxe versions of Atlantic Crossing and A Night on the Town. And while the song that was found is brilliant it wouldn’t be until 2021 that we would hear some of the promised songs.

195. Innocent (The Killing of Georgie Part III) (Rod Stewart)

Rod continues the journey of his friends death, this time detailing the other side, the murderer Billy’s trial. Rod details Billy’s plead of innocent with a driving rock beat, forgoing the acoustic feeling of the original “The Killing of Georgie”.

Another song I would love to have heard in its finished version, as the song as it appears on “The Rod Stewart Sessions” is somewhat drowned out by Appice’s drums, which Andy Zax explains they couldn’t bring Rod’s vocals up anymore.

It doesn’t matter though as the song is still brilliant.

Grade: A

196. You’ve Really Got a Hold on Me (Smokey Robinson)

A winning cover of Smokey Robinson’s 1962 hit. Here Rod Stewart’s band is playing restrained and in control with Rod’s vocals matching the performance of his band.

Rod would cover this song again over 30 years later, on his album Soulbook.

Grade: A

197. Honey, Let Me Be Your Man (Rod Stewart)

A super cool funky rock track that is so close to being finished. “Honey, Let Me Be Your Man” has a catchy chorus with some clever lyrics.

I feel like dancing every time the chorus starts, “Honey, let me be your man, do the best that I can.” It just has such a fun vibe to it. Oh, what might have been…

Grade: B+

198. Lost Love (Rod Stewart)

Rod returns to a bitter, jilted lover in “Lost Love”. Rod explains that he doesn’t need the love of a woman because “she’s gone and I am not too pleased, it doesn’t matter, I’ll move in with someone else by tomorrow.”

“Lost Love” is almost finished, more so than “Honey, Let Me Be Your Man”.

I do love the end verse where after the song and singer become longing and Rod snaps out of it telling us “Fuck her, I can do without her tomorrow”.

Grade: B+

Rod Stewart was riding a wave of highly successful albums, little did he and the public know that he was about to unleash his biggest, most divisive song ever.

Stay tuned for Part 6: In Which Our Hero Sells His Rock ‘N’ Roll Soul to the Disco Devil and Laughs All the Way to Hell and a Number One Smash Hit

Announcement, Articles, Editorial, Review

The Shamley Silhouette

 

Introduction: Repetition

 

There is no point in doing this… it has already been done a million times over.

That was my initial thought when I landed upon the notion of covering Alfred Hitchcock as my next analysis for the Reel Nerds website. It was a thought that kept this series from starting back in May.

For those who are not familiar with this (I’m assuming everyone), I recently finished covering all 60 films of Clint Eastwood (not counting the film he is currently producing just to keep that series continuing). The affair was difficult as I was still learning how to discipline myself in the matter of covering all these films and giving thoughtful observations on his career. I’m still not convinced it was as thorough as it could be, nor convinced that it lived up to the standards set by greater writers than I who have covered the careers of personalities with the finest toothed combs. Stubbornly, I decided to continue this trend on a new topic. My decision on the subject at hand had been in the back of my mind for years.

 

 

My first encounter with the Master of Suspense occurred when I was 9 years old, watching a VHS of Universals 1999 remake of THE MUMMY (dir. Stephen “Deep Rising” Sommers). Before the film began, a slew of ad’s filled the screen of a Zenith Tube TV that filled my head with the possibilities of films I had not seen but must as soon as possible. One of those ads that struck me deeply. It came after the Universal Monster ad, and in a weird way mirrored my own eventual evolution from the horrors Gothic castles and mad scientists to the horrors of man and his feasibly warped mind. It was an ad for THE ALFRED HITCHCOCK COLLECTION. Within an instance, an intense montage of imagery from the Universal owned Hitchcock films hit my feeble brain and bawled me over. The most striking was a bird darting directly at the screen and slamming into the glass of a phone booth with the impact of a bullet, the reaction of a frightened and disheveled Tipi Hedren, and a wide shot of a flock of birds chasing down screaming kids from their once peaceful schoolhouse in Bodega Bay. As the ads ended and The Mummy started, I kept remembering that image of the bird attacking the phone booth. Stuck in my head almost like a frightening dream. When I finally got a copy of THE BIRDS from the library and sat down to watch it, the VHS (as I recall) began with the trailer. But instead of clips from the film; it was just this rather large man talking cheekily granting us an orientation about how man and bird are and have been in peaceful cohabitation until Tipi Hedren runs into the room screaming, “They’re Coming! They’re Coming!”. Then as the film began, I became engrossed not just in the bird attacks themselves, but by the build up before the attacks. Every moment that Hitchcock wanted me to jump at I did without any notion of how a director plays the audience like a piano. It was simply a pure experience in cinematic terror. That was the beginning a lifelong admiration and study of Alfred Hitchcock.

Now the question is: how do you tackle a subject that has been tackled to death? Do you go through all 56 of his films (there would be 57, but THE MOUNTAIN EAGLE (1926) is a lost film that will hopefully be found and restored through the mission of the British film Institute)? Do you talk about his style and technique (there’s a whole interview book dedicated to that, called HITCHCOCK/TRUFFAUT by François Truffaut that is more than worth your time)? Do you discuss his personal life and dark obsession (go to ANY Hitchcock biography ever written or listen to Adam Roche’s SECRET HISTORY OF HOLLYWOOD podcast)? Essentially, do you go down any of these specific rabbit holes again?

The answer is yes, but with a caveat…

Henceforth, THE SHAMLEY SILHOUETTE is an all around celebration and study of the Master of Suspense by his admirers (and possibly even detractors). It will do its best over the course of the rest of 2019 to dig into the many different facets of Hitchcock, why we still discuss him today, and even tackle some of the Hitchcock imitations that have followed in his wake from the overt to the subtle. The articles will, in due course, eventually discuss all his films at least once and provide insights therein. My hope with this will be to encourage those reading to seek out further information and study on Hitchcock’s cinema and its vast possibilities for dissection.

In addition, I have decided that I do not wish this whole affair to be my one sided view. I want to get others in on the fun. That’s why, as each article drops, it will be followed by an audio podcast where I will sit down with fellow Hitchcock fans (and possibly detractors) to discuss their love (or even hate) of the man. With all of this we will hopefully discover, for our own purposes, a better understanding of how important his work was and how he continues to permeate the culture directly and indirectly.

Or put simply: (Sigh) Yet another analysis of The Master Of Suspense.

So get cozy for a bit guys. We are going to go where everyone has gone before… again… but hey, we’re gonna have some fun doing it…

Announcement

Cardigan Sorrow NOW ONLINE!

Brad’s award-winning 2017 Denver 48 Hour Film Project is now online for all to see! Check it out above.

A 48 hour film… before it was cool.

Winner: Group E Audience Choice, Best Use of Prop

This film made for the 2017 Denver 48 Hour Film Project. 48hourfilm.com/denver

Genre: Detective/Cop
Character: Truman or Tessa Duda, Repairperson
Prop: A Vinyl Record
Line of Dialog: “Hey, what’s that over there?”

Announcement

Weird Al Coming to Denver Comic Con 2017!

FOR IMMEDIATE RELEASE:
Weird Al Coming to Denver Comic Con 2017
Legendary Parody Recording Artist at Denver’s Premier Pop Culture Convention in June

DENVER – March 1, 2017 – Denver Comic Con (DCC), Denver’s largest consumer convention and a program of education nonprofit Pop Culture Classroom (PCC), today announced it is bringing Weird Al Yankovic to the June 30 – July 2, 2017 event at the Colorado Convention Center.

Weird Al is best known for his parody songs such as “Eat It,” “Pretty Fly for a Rabbi” and “White and Nerdy,” but in addition to being an accomplished musician and songwriter, he’s also an actor, director and writer. He has appeared in films such as the cult classic ‘UHF” (a film he also wrote), and has directed music videos for artists such as Ben Folds and the Black Crowes. He has also written two children’s books, When I Grow Up and My New Teacher and Me!

Of his 14 albums, he has four Gold and six Platinum records. Weird Al has been nominated for the Grammy Awards 11 times, winning four.

Weird Al will appear at Denver Comic Con all three days for signings and photo ops. He will also participate in various panel programming to be scheduled and announced at a later date.

Weird Al joins other notable Denver Comic Con guests such as Billie Piper (“Doctor Who”), Bonnie Wright (“Harry Potter”), Eliza Dushku (“Buffy the Vampire Slayer”), Felicia Day (“Supernatural”), Finn Jones (“Marvel’s Iron Fist, “Game of Thrones”), Gaten Matarazzo and Caleb McLaughlin (Netflix’s “Stranger Things”), Khary Payton (“The Walking Dead”) and Wallace Shawn (“The Princess Bride”).

Denver Comic Con is one of the most attended pop culture conventions in America. The popularity is due in part because of its robust schedule of programming (more than 400 hours of sessions during which artists, creators, celebrities and industry experts talk about their craft and their creations) as well as its family-friendly mission and environment. The largest portion of the show floor, more than 9,000 sq. ft., is dedicated to teens and children with activities designed to engage kids in education through pop culture.

For more information and tickets, please visit www.DenverComicCon.com and www.PopCultureClassroom.org.

About Pop Culture Classroom
Pop Culture Classroom (PCC) is a charitable organization that educates through alternative approaches to literacy, learning, and character development. PCC creates programs for underserved students, schools and communities via comic books, graphic novels, and related media. PCC is the organizer and producer of Denver Comic Con. For more information, visit www.popcultureclassroom.org.

About Denver Comic Con
Entering its sixth year, Denver Comic Con is Denver’s premiere pop-culture fan experience, covering the worlds of comic books, film, and related media. It is also an extension of and an awareness builder for its parent organization, Pop Culture Classroom. For the latest news and information, visit www.denvercomiccon.com.

Announcement, Articles

2016 Nerdy Nominations

[os-widget path=”/reelnerds/2016-nerdy-nominations” of=”reelnerds” comments=”false”]

Announcement

New Novel from Sue Duff! Stack A Deck on February 1st!


We are so excited here at Reel Nerds to announce that one of our most favorite persons we have met and interviewed at Denver Comic-Con, Sue Duff has a new book coming out tomorrow February 1st! Stack A Deck is the latest from Sue Duff,it is the fourth book in her Urban Fantasy series The Weir Chronicles! Sue was so gracious to sit down with us not once, but twice! You can find her interviews in the Denver Comic-Con links on our web site and make sure you pick up her new book, Stack A Deck on February 1st, you can order it now on Amazon in paperback or hardcover, or if you like your books modern the ebook version is also available.

BESTSELLING AUTHOR  RELEASES   LATEST   INSTALLMENT   IN  HER   URBAN   FANTASY  SERIES

Stack   a   Deck   explores   the   tough   questions   of   a   world   gone   wrong

DENVER, CO — What if the Earth’s ozone layer decayed? What if asteroids weren’t destroyed  by outer atmosphere and impacted us on a regular basis? And what if the Earth’s core slowed its rotation, leaving our planet completely out of sync with the gravitational pull of the moon?

Bestselling author Sue Duff explores these terrifying questions in her latest installment of  her   urban   fantasy   series,  Stack a Deck  ( Book  Four in The Weir Chronicles.)

As the epic story continues, Duff’s main protagonist Ian Black learns how dangerous tyrannical  ruler Aeros has become, and sees for himself the narcissist’s impact on an entire planet. Ian is forced to turn his back on the Pur Weir and align himself with the rebels to rescue Rayne. But    when he travels to Earth’s alternate universe, he finds himself powerless and struggles to  survive. Though, it is here that he, along with eager readers of the series, finally discover the true   history   of   the   Weir   and   his   connection   to   Earth’s   imminent   destruction.  “ Stack A Deck  was  so challenging  because I had to consider he worst  future for Earth  and  ask  the tough  ‘what if’ questions , ”  said   Duff.     Stack a Deck is the fourth of five books in the Weir Chronicles, so fans of Duff’s novels can anticipate   an   exciting   close   in   the   final   chapter   in   2018.

Out of hundreds of submissions, Duff’s novel Fade to Black placed as a finalist in the Colorado Gold Writing Contest in 2011 and in 2015, her writing earned her the PEN Award from Rocky Mountain Fiction Writers . Masks and Mirrors nabbed Duff a nomination for the 2015-2016  Independent Writer of the Year from Rocky Mountain Fiction Writers , and Sleight of Hand  landed   on   the    Denver   Post    Bestseller   list   in   2016.      Additionally, Duff has completed a short story entitled D u o’v r for the anthology T I C K T O C K : Seven Tales of Time , which received the gold medal for Best Book Cover and silver medal for Best Anthology for the 2016 Colorado Independent Publishers Association EVVY Awards . The anthology also was nominated for Best Anthology at the 2016 UTOPIA Con . A second  anthology is on its way in 2017 and, in addition to the seven Wicked Ink authors short stories, it will feature two short-stories hand-selected from over 45 submissions received from writers all over the world.

Q&A   with   Sue   Duff 
We’re   now   on   book   four   in   the   Weir   Chronicles.   Can   you   tell   us   where   readers   will   find  Ian   Black   in    S t a c k   a   D e c k ?

Ian   has   been   forced   to   turn   his   back   on   the   Pur   Weir   and   align   himself   with   the   rebels   to  rescue   Rayne.      When   he   travels   to   Earth’s   alternate   universe,   he   finds   himself   powerless   and  struggles   to   survive   the   dangerous   planet   while   staying   one   step   ahead   of   Aeros.

Since   there   may   be   some   readers   that   haven’t   yet   read    Fade to Black , Masks   and Mirrors and Sleight of Hand, can   you   catch   them   up   on   what   they’ve   missed? 

In    F a d e   t o   B l a c k ,   the   main   protagonist   and   “superhero”   is   Ian   Black.   Born   the   last   of   the   Weir,  all   hope   rests   on   him   to   save   the   planet,   but   he   doesn’t   inherit   the   powers   as   predicted.  Tortured   in   a   last   ditch   effort   to   bring   his   supposed   powers   to   the   surface,   he   escapes   and  hides   among   the   humans   as   an   illusionist   –   until   a   nosy   college   reporter   uncovers   his   secret.  Together,   they   discover   a   malevolent   Weir   who   is   sucking   Earth’s   energy   and   depleting   its  resources   at   an   alarming   rate.    The   Weir   are   a   race   of   magical   beings   who   have   served   as   caretakers   of   Earth   for   thousands   of  years   and   it   is   their   connection   to   the   planet   that   keeps   what   roams   above   in   harmony   with  the   energies   that   churn   below.   Unfortunately,   they   are   becoming   extinct   and   as   a   result,   there  is   an   intense   rise   of   natural   disasters   across   the   globe.   Desperate   to   save   the   earth   and  prevent   the   end   of   their   race,   the   Weir   turn   to   modern   science   to   perpetuate   themselves.   But  this   philosophy   separates   their   kind   into   two   warring   factions   –   the   Pur   and   the   Duach.   To   keep  them   from   killing   each   other,   and   all   but   guaranteeing   their   extinction,   a   Curse   is   created   by  the   Ancient   counsel   as   a   means   of   keeping   them   apart.   Of   course,   as   you   could   predict,   the  Weir   soon   discover   it’s   not   wise   to   mess   with   Mother   Nature!

A   band   of   rebels,   committed   to   stopping   their   mutual   enemy,   come   on   the   scene   in    M a s k s   a n d   M i rro rs ,     and   give   Ian   reason   to   be   suspicious   as   he   struggles   to   uncover   what   ulterior   motive  they   have   for   saving   Earth.    In   the   third   book,    S l e i g h t   o f   H a n d ,   Ian   pursues   answers   in   order   to   stop   Earth’s   natural  disasters   and   eminent   self-destruction,   but   the   rebels   have   their   own   agenda   and   poison   him.  Patrick   and   Rayne   search   for   a   cure   and   in   so   doing,   Rayne   ends   up   on   Thrae,   Earth’s   alternate  universe,   while   Patrick   confronts   the   rebel   leaders   and   learns   the   truth   about   the   Weir.

What   are   your   initial   thoughts   when   thinking   about   your   book(s)?  

I   write   the   way   I   like   to   read   –   short   chapters   that   end   with   a   cliffhanger   so   you   can’t   help   but  turn   the   page   and   read   just   ‘one   more   chapter.’   I’ve   received   feedback   from   individuals,   who  don’t   typically   read   my   genre,   but   end   up   loving   my   books.   Others   that   aren’t   big   readers   have  finished   my   novels   in   one,   two   or   three   sittings!

What   kind   of   research   did   you   have   to   do   for   your   book /series ?

The   fourth   book   was   the   most   challenging   of   all,   because   I   had   to   consider   the   worst   future   for  Earth   and   ask   the   “what   if”   questions.      What   if   the   ozone   layer   decayed?   What   if   asteroids  weren’t   destroyed   by   the   outer   atmosphere   and   impacted   the   early   regularly?   What   if   the  Earth’s   core   slowed   its   rotation   and   what   affect   that   would   have   on   the   planet   and   to   the  gravitational   pull   on   the   moon?   These   facts   are   the   basis   for   how   Aeros   affected   Thrae,   and  since   it   ‘used   to   be’   the   mirror   image   of   Earth,   I   had   to   apply   those   results   in   this   novel.

Do   any   pieces   of   the   book   come   from   personal   experience? 

When   I   was   a   teenager,   we   took   a   road   trip   up   the   California   Coast   and   spent   time   in   the  redwood   forests.   I   thought   it   was   the   most   breathtaking   place   on   Earth,   which   is   why   I   have  Ian   living   there   in   my   stories.

What   do   you   hope   readers   most   get   out   of   your   book   (or   the   series   as   a   whole)? 

Regardless   of   the   naysayers,      believe   in   yourself   and   follow   your   own   strengths   and   path   in   the  world.   Ian   didn’t   develop   his   powers   as   the   prophecy   predicted,   and   Rayne   wasn’t   the   firstborn  male   Sar   that   her   father   desired.   The   fact   that   Ian   turned   to   illusions   in   order   to   do   what   he  couldn’t   naturally   (lack   of   powers   in   a   magical   world)   is   key   to   his   character.      Tortured   for   what  he   had   no   control   over,   he   discovered   and   nurtured   something   that   he   could   control.     I   also   hope   that   my   readers   can   accept   that   science   can’t   explain   everything   and   embrace   the  wonders   and   mysteries   in   the   universe.   My   favorite   line   from   the   first   book   is,    “There will always be magic in the world , as long as we believe in what we don’t  understand . ”

You   also   released    T I C K   T O C K ,   an   anthology   with   six   other   Colorado   authors   this   past  year.   How   did   that   come   together,   and   do   you   have   anything   planned   for   2017?

Our   first   anthology,    T I C K   T O C K :   S e v e n   Ta l e s   o f   T i m e ,    was   nominated   as   Best   Anthology   of   2016  by   UTOPIA   Con   in   June,   and   we   also   won   the   silver   medal   for   Best   Anthology   of   2016   and   the  gold   medal   for   Best   Book   Cover   through   Colorado   Independent   Publishers   Association   EVVY  Awards   in   August!   Our   next   anthology   is   based   on   short   stories   inspired   by   our   favorite   song.  In   addition,   we   opened   the   second   book   up   to   submissions   and   received   more   than   45   from all   over   the   world!   After   the   marathon   readings   and   critiques,   we   chose   two   that   stood   out  above   the   rest   and   we’re   excited   to   include   them   in   the   second   anthology,   releasing   this  spring.

So   after   working   both   solo   and   in   tandem   with   other   authors   on   a   project,   do   you   have   a  favorite   method   of   writing?

There   are   pros   to   doing   both!      I   love   my   Wicked   Ink   team   and   we   do   so   much   to   support   each  other.      It   can   be   daunting   to   self-publish   a   novel,   but   with   having   a   team,   the   burden   can   be  shared   by   all   –   which   makes   it   easier.      But…I   also   love   writing   on   my   own,   because   the   final  decisions   and   content   are   solely   mine   and   I   don’t   feel   so   stressed   by   deadlines   –   albeit   the  ones   I   put   on   myself.      But   truly,   I   have   the   best   of   both   worlds!

 

 

Author   Biography   of   Sue   Duff 

Sue Duff has dreamed of dragons and  spaceships before she could even read, so it’s  only natural that she now combines both  fantasy and science fiction as her favorite genre. Having written since high school, Duff  never took it seriously until a skiing accident laid her up for an entire summer and she turned on the word processor to combat the boredom. A few years later, her first urban fantasy novel, Fade to Black , was one of five finalists in the RMFW Colorado Gold Writing Contest .  Duff’s writing has also earned her a PEN Award , a nomination for 2015-2016 RMFW             Independent Writer of the Year , three consecutive years as a featured panelist at Denver ComicCon    and   a   coveted   spot   on   the    Denver   Post    Bestseller   list.     She is the second oldest of six girls with an avid reader mom and her dad, the family’s single   drop   of   testosterone   in   a   sea   of   estrogen.     By day, Duff is a dedicated speech-language therapist at an inner city school district,a career she pursued much in part to her aunt who got her hooked on stories of the profession when Duff was younger. She is passionate about the work she does and regularly   works   to   help   those   students   that   need   it   the   most.    Sue is a member of the Rocky Mountain Fiction Writers and The Pikes Peak Writers .She calls Colorado home and when not saving the world one page at a time, she can be found walking her great dane, getting her hands dirty in her garden, or creating something   delicious   in   her   kitchen.     Check   out   her   blog,    A   Cook ’s   Guide   to   Writing and other musings on her website.

Announcement, Trailers

Thunderbolt 2 Trailer

The trailer for Brad’s 2016 Denver 48 Hour Fim Project has arrived! Thunderbolt 2 premieres 8pm, Sunday August 7th at the Sie Filmcenter. Get your tickets at denverfilm.org or 48hourfilm.com/denver!

“He was in the wrong place at the reich time…”

When dark forces rise again, Thunder Bolt is pulled out of exile to defeat them!

Announcement

Breckenridge Brewery Sponsors Denver Comic Con for 5th Year

Breckenridge Brewery Sponsors Denver Comic Con for 5th Year;

Official Conference Beer to debut on May 20th

 

Littleton, Colo. – May 11, 2016 – Breckenridge Brewery once again joins forces with Denver Comic Con. Since the inaugural convention in 2012, Breckenridge has brewed a special con beer and hosted a “Name the Comic Con Beer” contest. And each year what follows is a wonderful deluge of creative input, street cred for the winners, a beer release party preceding the con and other events in and around the Colorado Convention Center.

Breckenridge Brewery congratulates Noah Eisenman and Greg Nuccio, who both suggested “Snape-ricot” as the name for this year’s refreshingly crisp apricot lager. The name honors actor Alan Rickman, who played Severus Snape in the Harry Potter film series and recently lost his life to pancreatic cancer.

“It’s become a wonderful Denver Comic Con tradition to launch these pop-culture themed beers in the weeks leading up to the con,” said Christina Angel, Denver Comic Con director. “This year’s brew takes on a special significance as a tribute to Alan Rickman, who so masterfully brought Snape to life on the silver screen.”

Although the name was chosen by popular vote, the brewery found it to suit the beer quite perfectly. Ryan Workman, Breckenridge Brewery Brand Manager, describes the beer to be more complex than one would guess upon first impression. “The apricot our brewers added to their American lager recipe produced surprising ambiguity, much like Snape himself. It’s pale and crisp, but spend a little time with it, and you’ll find unexpected layers of interesting personality.” Finding more parallels in Snape and Snape-ricot, he shares that the beer is “bitter and cold, yet the fruit magically transforms Snape-ricot into something not sweet, but certainly a little softer than one would’ve imagined.”

Snape-ricot will make its first public appearance at Stoney’s Bar and Grill on Friday, May 20th, at 7:30 p.m. The first 200 people to order a Snape-ricot will be given a limited edition pint glass featuring the beer’s custom label artwork.

The beer and pint glasses will also be available at the 3-day Denver Comic Con, which kicks off on June 17th and features such pop culture notables as Stan Lee (Marvel Comics), Lena Headey (Game of Thrones) and Ralph Macchio (the Karate Kid) . Tickets are still available at www.DenverComicCon.com. Additionally, local pubs around the conference will feature the beer with additional pint giveaway promotions.

Past winning entries for Breckenridge’s Name the Comic Con Beer contest are:

  • 2012 Fantastic Pour
  • 2013 Caped Brewsader
  • 2014 Brews Wayne
  • 2015 Hulk’s Mash

About Breckenridge Brewery

Breckenridge Brewery opened its doors in 1990 in the ski town of Breckenridge, Colorado. What started as a small brewpub has grown into a one of the largest breweries in the U.S. The original brewery still serves its craft beer and delicious pub fare at altitude. The production brewery outside of Denver sends beer to thirty-five states and offers tours, dining, and a welcoming Colorado beer garden experience. With a focus on balanced, approachable and interesting beer, the brewery’s portfolio contains classics like Vanilla Porter, Avalanche Amber Ale, Agave Wheat, 471 Double IPA, and Breck IPA, along with a variety of specialty beers that include seasonals, barrel-aged beers, the Brewery Lane Series, and a newly announced nitrogen-charged canned series. Visit www.breckbrew.com for more information.

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