Top 10: Straight Action films of the 20th Century

The only criterion for this list was that the film had to have minimal cross genre elements. So, I have discounted films like Robocop, Terminator 2 or even Indiana Jones. The other thing is that this is a list that I have created and is based solely on the films I love in date order. If you want to suggest anything else or dispute anything on this list, let me know.

1.       Rambo: First Blood (1982) – one of the first true one man army action films but not just action candyfloss. The film provides a perspective on veterans by civilians and their place in society following Vietnam. Stallone’s John Rambo is a damaged soldier looking for connection in the real world. When he is rejected he reverts to his training and takes the war to small town America. The action is raw and brutal but its true impact comes at the end when Rambo breaks down and retells what has seen and been through. This is an action film with a message about ignorance and the impact of post-traumatic stress disorder.

2.       Commando (1985) – A proper candyfloss action film and the second one man army film on this list. This film has no deeper meaning but is filled with some great set pieces and one liners. Schwarzenegger is on true muscle bound action hero form. The fact that his daughter has been kidnapped as leverage to assassinate a country‘s leader is completely immaterial. The plot is so thin but it all builds up to an amazing and ludicrous third act. Seriously, Arnie taking on an entire drug cartels army is awesome. The only thing that brings this down is Bennett, Arnie’s nemesis, who seems so out of shape next to Arnie that the final fight is a bit daft.

3.       Lethal Weapon (1987) – The buddy cop film was already a staple by the mid-80’s; the sub-genre came to America with 48 hours in 1982. This was followed by a couple of other films in the genre but it wasn’t made really popular until 1987 with Shane Black’s Lethal Weapon. The previous entries had leant a little more towards the comedy and while fun they were throw away. Lethal Weapon took this to the next level by upping the violence and intensity, and wrapping around it the great pairing of Mel Gibson and Danny Glover. The chemistry between the two is excellent and what drove this franchise for four films.

4.       Die Hard (1989) – Possibly the best loved action film of all time. Die Hard was a game changer, it took the everyman hero of the 70’s and throw him into the over the top action of the 80’s. Based on the book “Nothing lasts forever” by Roderick Thorpe released in 1979. To me this film is almost perfect, Bruce Willis is excellent as John McClane and Alan Rickman is thrilling as Hans Gruber, the slimy international terrorist thief.  This film was rightfully a break out for each actor and started the film description cliché “Die Hard in a …” of all the films on this list this is the one I have watched the most.

5.       Tango and Cash (1989) – The second buddy cop film on the list. While Lethal Weapon took the genre pretty straight, Stallone and Russell take it full on action cheese. This film is pure dumb fun, the plot is basic and the action is big. Of the two Kurt Russel seems the more at home as the scruffy Gabe Cash while Sly Stallone sometimes feels a little awkward as the well-manicured Ray Tango. However, when that starts to fall away a little by the second act they fall into the roles brilliantly and the fun just keeps on coming. This is not going to win any awards but is perfect Saturday night pizza and beers action mayhem.

6.       Hard Target (1993) – John Woo’s first American film and it had Jean-Claude Van Damme in it. Mixing the oriental directional style of Woo with Van Damme’s martial arts was a great idea and is brilliant fun. In a story about People being hunted for sport we get everything we would expect, slow motion, high kicks, dove’s and amazing action set pieces. This was at the height of Van Damme’s 90’s fame and is one of his best films. It also includes the brilliant Lance Hendrickson at his nastiest, as the main villain.

7.       True Lies (1994) – Take Bond and make him an American Family man built like an Oak and you get James Cameron’s True Lies. This film demonstrates how far Arnold Schwarzenegger had come as an actor. He is charismatic and plays the roles of dull computer salesman and super spy well and with charm. He is also surrounded by a solid supporting cast from the sexy Jamie Lee-Curtis (I grew up when I saw that dance scene!), the entertaining Tom Arnold and the evil Terrance Malik. The comedy never over takes the action and the third act contains some of the best stunts you will see in any action film of the decade.

8.       Goldeneye (1995) – One day I will get to cover James Bond on a couple of episodes but right now I need to admit, Goldeneye is my favourite bond film. This may be due to my age, I was 14 when the film came out, but Peirce Brosnan is my James Bond. I had seen some of the other films before this and was aware of Bond as a film series but had not been pulled into them until Goldeneye. You couldn’t avoid Tine Turner’s excellent intro song and the advertisements. This is one of the few Bond films I have seen in the cinema and I have loved it ever since. Also the game was awesome; let’s just not talk about some of the other Brosnan outings at the moment.

9.       Bad Boys (1995) – The first of two Jerry Bruckheimer actioners on this list and the film that made the Fresh Prince a legit star. This film is great for two reasons, the first is the relationship between Will Smith and Martin Lawrence, the second is the stylised action. Watching it now I will admit that some of the directorial choices date the film to the decade. This is small a minor complaint however when many of the other choices still stand up so well and the main cast are so good. It should also be noted that this is the feature directorial debut of Michael Bay; regardless of my feelings about his more recent Transformer efforts his style is perfectly suited for this action.

10.   Con Air (1997) – I flip-flopped between this and The Rock to put on this list, both Jerry Bruckheimer films. In the end I decided to go with Con Air because it is slightly more fun and has the amazing John Malkovich as the main villain, Cyrus ‘The virus’ Grissom. Nic Cage delivers one of his more subdued performances amid some more flamboyant choices from the bad guys around him. However, it is clear that he is having fun; he is a pretty good action lead. The premise of the film is daft and some of the leaps in logic and credulity push the boundaries at times. However, the film is endlessly quotable and the plane grave yard sequence is so much fun and chock full of great moments.

British Invasion Review: Neil Gaiman's "The Sound of her Wings"

Like Grant Morrison, Neil Gaiman produced what can be considered his statement of intent issue after completing the initial arc on his primary series, and being asked to carry on. However, that is where the similarities end. While Morrison moved away from the main character of Animal Man to have a look at the weirdness of the wider world, Gaiman turns inward to take a direct look at The Sandman.

After breaking out of his capture and re-establishing himself as the master of dream, Morpheus is depressed and feeling lost. Just as it is acknowledged in Gaiman’s Black Orchid, Morpheus echoes the feeling that the end was an anti-climax. After taking his revenge and being away for so long where does he stand? The whole issue circulates around this issue with a conversation between Morpheus and his Eternal sister, Death.

Death in this series is very different representation that we are used to. In this case Death is represented by a young cute Goth girl. She has been around a long long time and has the wisdom of ages. However, she isn’t going to be direct with her knowledge and wisdom other than to tell Morpheus to stop moping.

From this perspective we can break the issue into three acts. We start with several pages of Morpheus ‘moping’ and contemplating his place in the universe. These pages have minimum dialogue but are filled with expression.  This is typical Gaiman, giving his stories room to breathe and using the art to tell the story.

The second act starts when Death strolls into the story and starts a conversation with her Brother. We learn more as the conversation progresses about the two and the relationship between them. Death is the older sibling and is coming by to tell her brother to sort himself out, stop moping and get back to what he does best. In one conversation the universe escalates to start introducing The Eternals and provide more nuggets of history for the characters.

The conversation leads to the third and final section when Morpheus is talked into accompanying Death as carries out her job.  We experience a series of lives ending both old and young, one incredibly young. It is during this section that Gaiman starts to bring his theme to the fore, as Morpheus starts to understand his place and what he needs to do next. It becomes clear that this isn’t just Morpheus on this journey; Neil Gaiman is on the same journey and excising the constraints of the first story arc. By the end of the story both Morpheus and Gaiman have come to a clear conclusion, while they may have responsibilities they can carry them out in whatever way they want.

This issue is a real turning point for Gaiman. There may have been independent success before this but this is the point at which Gaiman cracks the code and realises that he is able to apply that same approach and style to everything he does. The series could have ended with the first arc and been a well-crafted fantasy horror story set on the edge of the DCU. Following this issue we are off the edge and Gaiman is free to make the series whatever he wants it to be. That is why this is the statement of intent for Neil Gaiman; in itself it is an interesting single issue, in the context of the whole series it is a conversation that sets up everything that comes after.

British Invasion Review: Grant Morrison's "The Coyote Gospel"

Grant Morrison had been given the green light to write his four issue miniseries for Animal Man and it was a success. The bods at DC knew that if they were going to take a chance on Arkham Asylum then Morrison needed more exposure and if Animal Man was working, why change anything. So they asked him to continue, but after finishing your story what do you say? How about shifting focus to a coyote that has been sent to the DC universe from a parallel animated world?

While the first four issue of Animal Man dig into the weirder mythology of the DC universe, issue 5 creates its own weirdness. It’s an absurd existential tale about sacrifice and fear. Again, I won’t go into deep detail but I will cover the salient points, in fact I am barely going to mention Animal Man himself at all.

The main elements in the issue are the revelations about a coyote that walks around the desert on two legs and a man that loses everything but his faith. The issue opens with optimism and a trucker that has turned his life around for the better. During a conversation with a hitchhiker we learn that he’s a gay man in the 80’s that has found a loving partner and is doing well, he has even found religion. Then they meet the bipedal coyote … and run him down with a truck. This could be the end of the story for both the trucker heading home and the dead coyote. However, we quickly learn that this is far from the end when the coyote’s broken body heals.

The story picks up a year later for these two and in that time a lot has happened. The trucker has lost everything; his partner was killed in an accident. His mother had died from cancer, he had lost his job and the straw that breaks the camel’s back, the hitchhiker he helped a year before has also been killed. Tracking it back he pin points the start of his bad luck on the day he ran over the devil, or as we know the coyote. Now he wants revenge.

After running through several attempts to kill the coyote in some very looney toon ways, the coyote meets Animal Man and presents him with the truth. We learn that he is from a world of cartoon characters, beset by constant violence but where no one can die. Sick of this endless cycle of pointless violence he goes to see his creator and partition him to intervene and stop it. The creator agrees, on one condition, the coyote will be transported to another world to suffer again and again, thus saving his world from violence.

The book ends with Animal Man stating that he cannot read the script he has been given that contains the truth. The Trucker finally kills the coyote believing he has killed a / the devil, thus saving the world.

To stop there for a moment, we are really getting into the Morrison-isms that I have always enjoyed. The concept of parallel or multiple worlds will come up again and again in everything from Doom Patrol, Batman, Final Crisis and of course Multiversity. It is a core conceit of the DC universe that Morrison is a master of. Also, woven into this issue and some of those other stories, especially Final Crisis is the idea of a “creator”. This is returned to later in his Animal Man run, when Buddy Baker actually meets Grant Morrison. In this series and Final Crisis we meet characters that have been forgotten and exist in a limbo waiting for a creator to pluck them out and use them again.

Moving from the purer Morrison ideas, the heavy religious overtones of this issue cannot be missed. From the truck drivers cross and mission to kill the devil, the evangelist on the TV in the Baker home to the idea of the Coyote sacrificing himself to endless punishment to save his world from violence.  Of course the irony being that a man of faith has killed a being that is on a mission of pain for the purpose of peace.

I think because of his longer list of stories behind him Alan Moore’s Swamp Thing 21 is a better statement of his ability; it is better structured and tighter plotted. However this issue from Morrison is like an experiment, he throws in some good ideas in a loose construct and it comes together brilliantly. It’s no wonder he comes back to the ideas again in the future. Of the three issues I am discussing, this is my favourite.

British Invasion Review: Alan Moore's "The Anatomy Lesson"

For Alan Moore his statement of intent came with his American breakthrough. He had done a lot of work in the UK and it had gotten some attention. However, writing for Swamp Thing gave him exposure to a much wider audience. His first issue on the series was a wrap up of the previous writer’s story; in fact the issue is actually called “Loose ends”. With issue 21 he was able to start taking the series in his direction.

In issue 20 Swamp Thing is shot and presumed killed. In issue 21 we literally get a lesson in the Swamp Thing, where he came from, what he is and how he works. I am going to try and avoid spoilers but I will give the basics. The person that had Swampy ‘killed’ has kept his body and brings in Doctor Jason Woodrue, the Floronic Man, to analyse the body. As he learns more and more, so do we. We and Swamp Thing also find out by the end of the issue what he really is.

This issue is a literal rebirth for the character, not only does he awaken from the dead but when he does so everything about the characters essence has changed. This issue takes what started as a mutated Man and transforms him to something much more mythical.

A lot of this issue deals with what it is to be human, and how we define ourselves. It is demonstrated that Woodrue, a plant/man hybrid villain from the DCU, uses synthetic skin to hide his true appearance, wanting to look human.  Does his appearance make him human?

There is also the man that had swamp thing killed, the old General, who lives and works in a digital office space, the king of his castle. The tower of steel and wires, as he sees it, a symbol of his wealth, but if you’re not engaging with society, are you human? Again when we learn what Swamp Thing really is, the question is presented: Are you a person because of the body people see, or the thoughts in your head.

This question is represented in the issue by book end images. The opening page shows Woodrue’s human face looking through a rain soaked window. The final page presents the same image, only now the human façade has been washed away and we see the Floronic man.

This is just one theme that I have picked out form the issue, a lot more can be taken from these 22 pages. However, just in presentation of this one theme we get to see the use of mirroring, which would be used in much more detail in Watchmen. As well as presenting juxtaposing ideas, like nature vs. technology and what it means to be human – Woodrue vs. the general. These are not only Moore ideas that he would visit again but more importantly the techniques used will be refined and used again and again in his future works. A lot of what came before is very good but this issue defiantly represents a turning point for Moore. This is a confident, well written story that being received well encouraged Moore to become more ambitious. 

"British Invasion: The invention of the modern comic book writer" Review

Despite my love of history and reading I haven’t read many biographies. I will admit to an attention span that needs something exciting every couple of pages to keep me going. So pages about someone’s childhood and family always become dry and my thoughts start to drift. However, there are a couple of biographies I would hold up as great examples of the genre that I really enjoyed. Mick Foley’s ‘Have a Nice Day: A tale of Blood and Sweatsocks’ and Kevin Smith’s ‘Tough Sh*t: Life Advice from a fat lazy slob who did good’ kept me engrossed and I would recommend them to anyone. I can now add to that list Greg Carpenter’s ‘British Invasion: Alan Moore, Neil Gaiman, Grant Morrison and the invention of modern comic book writer’.

I should caveat that British Invasion is not wholly a Biography; while it does cover most aspects of the three subjects’ lives it also provides insightful and detailed analysis of their comic book work. The balance that this book strikes is perfect and written in an accessible fashion. This could have been a dry and dull text book but at no point is it overly academic but it also never dumbs down or patronises the reader.

The objective of the book is to provide a history of events and analysis of the impact of three of the most influential comic book writers of the last 30 years. Highlighting how these three men defined an era with some of the most well regarded and loved comic books ever. It achieves that objective and then some.

The history aspect is sufficiently detailed for the reader to understand where Moore, Morrison and Gaiman come from without getting bogged down in “this, then this and then this” listing of childhood events. I found it fascinating that three men from such different backgrounds could become so entwined historically and thematically. The rea historic detail comes later in the book chronicling how each of them entered the industry and then moved from work to work. This biographical context alone provided deeper meaning to the work they were producing. Knowing why and how Morrison created King Mob for ‘The Invisibles’ is one step beyond!

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The book however goes further. This is where it is worth noting the author’s (Greg Carpenter) background as a college lecturer. Carpenter has taught courses on topics such as Comics, Shakespeare, Modern & Post-modern American literature and Screen-writing to name a few. So to say that he knows what he talking about is an understatement.

Carpenter’s analysis of the works, both popular and obscure, of each writer is fascinating and thought provoking. I lost count of the times that I dashed to my collection to read an issue or check the page of a book and seeing it in a completely new light, with more depth and meaning.

Having read this book it has achieved three key things for me that have changed the way I will not just read comics from Moore, Morrison and Gaiman but all writers and artists. Primarily, by providing an insight into the life of each writer I now appreciate more than ever how comic books are influenced by the personal situation of the contributors. Secondly, it has given me a deeper and richer understanding and love of the writer’s works. Anything that makes me love something more than I already do is always good. Thirdly, it has provided an education in the questions to ask and elements to consider when enjoying and experiencing any piece of art. I don’t and won’t claim to be able to provide any deep or meaningful analysis but knowing where to start is great. As an addition it has add a number of books I wasn’t aware of to my “Must read” list.

Overall, this is well written, accessible and insightful look at three genuinely brilliant creators that took comic books out of the spiral of silliness and proved that they could be art.

Greg Carpenter’s ‘British Invasion: Alan Moore, Neil Gaiman, Grant Morrison and the invention of modern comic book writer’ is published by the Sequart Organization and available through their website (sequart.org) and other book selling sites (I got mine from Amazon). 

"Elvis Presley" Review

When I decided to review an Elvis album for this blog it struck me how much expectation I bring to anything Elvis. Elvis is so ingrained in pop culture appearing in so many forms, accurate and parody, that I have a very specific image in my head of what to expect. To me, rightly or wrongly, this is the rhinestone spattered jumpsuit glad Vegas Elvis. It was because of that image that I actually decided to review this album, his debut album, 1956’s “Elvis Presley”.

I should quickly highlight that I am actually reviewing the 1999 reissue with a couple of bonus tracks. I thought this would give me a wider selection of songs from this period. Additional Elvis songs are always a good thing, right? Erm … no.

Of the 19 tracks on the album two thirds are pretty much standard 50’s fair. They feel and sound like they could be released by almost any of the similar country rock’n’roll stars of the period. Although Having Elvis sing them with his distinctive voice does make them more interesting. While they may be interesting they are not the kind of songs that would inspire a generation to scream and shout or for musicians to go and create something new. They feel safe, which when you realise that this is a debut album starts to make a little sense. Elvis may become the king of rock’n’roll but he is starting by introducing himself with something that people know. Of these there was one standout worth mentioning, “One sided love affair”.

Being safe is one thing but doing covers is one step further. This album contains several covers that I recognise from other artists “Blue Moon”, “tutti Frutti”, “Shake, Rattle and Roll” and “Blue Suede Shoes”. While the first group of songs were fine, two of these covers (“Blue Moon” and “tutti Frutti”) are awkward and feel incredibly out of place. These two songs are so clearly not designed for Elvis’s voice that I could not listened to them a second time. Shake, Rattle and Roll is an enjoyable step up, fitting the Elvis style but still does not completely feel like an Elvis song. The final cover however is great. Elvis’s version of “Blue Suede Shoes” is classic and does exactly what it is supposed to do. It introduces what Elvis can do with a recognisable song. As a song it is catchy and a lot of fun.

However, there is something amazing on this album, “Heart Break Hotel”. This is an incredible song and one of my favourite Elvis songs. This song alone stands out as a flash of brilliance and a glimpse of what Elvis would quickly produce on a regular basis.

As an album I found this disappointing. As a milestone for Elvis it is interesting but by no means essential. Throughout the album there are moments demonstrating what he could do but the majority of the songs feel like they are being held back, kept at a level that was already common for this kind of music. The standout is Heart Break Hotel which is the turning point, the siren call that Elvis is something different. I enjoy Elvis as an artist but listening to this album confirmed something for me. I am not an Elvis fan. I really enjoy the “best of Albums” but I don’t have a need to go beyond that. In some way’s this is a little sad, on the other it means I can enjoy that best of album, knowing that I really do think this is the best of this work. 

"Sgt. Pepper’s Lonely Hearts Club Band" Review

I have written quite a few reviews of films and a couple of books over the years. That’s not to say that they’re any good but I am more experienced reviewing those. So when I decided to try reviewing an album, a Beatles album no less, I wasn’t sure where to start. I have no musical ability or technical knowledge, so that only left me with how the songs and overall album make me feel, which let’s be honest, is the only thing that really matters.

“Sgt. Pepper’s Lonely Hearts Club Band” was released in June 1967. It is considered the height of the Beatles creative collaboration and one of the greatest albums of all time. So is it any good? Actually yes, it is very good and I was able to listen to it repeatedly over three days without getting bored of it.

This album can be dropped into and the songs listened to and enjoyed individually. There are several that I really enjoy, “Lucy in the sky with Diamonds”, “Being for the Benefit of Mr. Kite!” and “A day in the life” all of which are predominantly credited to John Lennon. I wasn’t aware of this until after listening to the album and doing the research for the podcast on the Beatles.  In my opinion these are the songs that feel the most contemporary, even today. It would appear that John Lennon may have been my favourite Beatle.

However the real joy comes from listening to the whole album. This is a case of the whole being greater than the sum of its parts. Yes the songs are good but the album is a great show. You are welcomed with energy and joy to the show. It then continues from there with ups and downs, all the time with energy and creativity. This album is a tour of styles and imagination from each of the members combined.

When the show is over there is an encore, “A day in the life”, a combination of Lennon and McCartney Lyrics telling two different stories. The tone of the song is different from the rest of the album. A coda highlighting the creative brilliance of the band and how they cover so many different styles and had the ability to balance artistic merit with humour and fun.

If you want to get into the Beatles start at the beginning and experience them as they evolve and grow. If you are looking for the best from a band at its creative height then I strongly recommend enjoying the show put on by Sgt. Pepper’s Lonely Hearts Club Band. 

A final blog for 2016

It is pretty much generally accepted that 2016 has been a crap year, for many reasons. 

We have lost some of the most influential pop culture icons of the 20th Century. The loss of these people is sad and is a great loss to the creative arts but while we have lost the person their great work is still there and can and should be celebrated. I want to mention something about just two of these great people; David Bowie and Alan Rickman.

In response to the death of David Bowie earlier in the year I went and listened to his entire discography. I didn’t think it was all great but it was really fun to listen to it all and experience his creativity and get a glimpse of his imagination. Bowie was a fascinating character that was not tied into any traditional rules of what could be done as a pop / rock star, breaking down barriers for so many other people to follow. while he may not have had a direct influence on my life, listening to his music is easy to see that has influenced so many musicians and artists that have had an influence on my tastes. 

Alan Rickman was an actor that appeared massively in my life. For me he was the perfect depiction of the bad guy. His appearances in Die Hard, Robin Hood Prince of Thieves and later the Harry Potter series established him in that role for me. I know he has appeared in loads of other films and is great in all of them but to me he personified the perfect villain. Is that a bad place to be? Depends how you look at it. The fact is he was a great actor and he will be greatly missed.

The point of this is to consider the celebration of each of these great people. They are a loss to pop culture but if you are a fan let people know why. That is a big part of what the podcast is about, going back experiencing and celebrating the work and influence of some great pop culture icons. I am really looking forward to celebrating the work of some of these icons, Elvis Presley and The Beatles. 

In addition to this we have seen a massive shift in political belief and loss of common sense. I don’t want to get into a detailed political tirade hear, that’s not the point of this site but there are a few things worth mentioning. The rise of populist politics is cause and effect and just shows that we do not learn lessons from history. Globally we experienced a period of boom during which we all got very comfortable and complacent. When the bubble burst in 2008 the world looked for someone to blame. Don’t get me wrong, there was someone to blame but we all let it happen and we have suffered the consequences.

The period of depression that has followed has been difficult and impacted everyone at home. Decisions that were made behind closed doors in a shiny office building we have meant we have suffered. This has re-established the notion that so much of our lives is out of our control. Knowing this is scary and we want someone to tell us why this happens, who is to blame and reassure us they will do something about it. A protective charismatic leader who we believe has our best interests at heart. In this dark fearful place is where the right wing thrives and its control across the world is growing like a mould.

This of course has been made worse by an escalation in terrorist violence the world over. I am not a religious person and have no theological dog in this fight. However just as a person I understand that this is a fight of good against evil, the twisting of a belief system that is based on hope and love. However, I also understand that this twisting is caused by fear and hatred of a perceived loss of control.

In both cases people worried about the future and their own small world have looked for something secure and clear cut to cling on to. Something that they can say provides perspective and clarity of purpose to their world. That is not to say that the actions that have been taken are right in anyway shape or form. Only that people driven by hatred have used peoples fear as a launch pad to spread more fear and hatred.

Ok, this part has become a bit of a rant, sorry about that. The point I want to make is that we have been here before. There are many examples but you only need to understand the rise of Nazism in Germany to appreciate the possible futures we are now facing. However, there is something that we can do about it.

20th Century Geek has been a positive passion project and while this year has had its own challenges personally it has taught me something about making time to do what you love. It has provided a channel to share a passion with friends and meet a host of people that share my passion or have introduced me to their passion for other things.

The best I can advise is find your positive passion, the thing that makes you happy and smile. Then follow that passion, keep it to yourself, share it or find others that share that passion, just keep happy. The world can be a dark place and instead of looking for someone to share your fear find someone who shares your love. Easier said than done? Well give it a try in 2017 and if you can, let me know what it is and how it goes.

To finish lets talk about the podcast. The podcast has been an experiment, which has meant that the shows have all been a little different in style and content. Having tried a few things, some of which haven't even seen the light of day, I am starting to settle on a format. There will be a lot more of Mike and I chatting about films and other historical tidbits. The one thing that I will be introducing in the new year are a series of interviews with people actively involved in things that celebrate elements of 20th Century Pop Culture. I am really excited about meeting these people and sharing their passion. 

Anyway, time to wrap up so Merry Christmas and have a great 2017. please feel free to contact me either through email or social media, I would love to talk to you about what your passionate about.