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NWA U.S. TAG TEAM CHAMPION BARRY WINDHAM VS. ARN ANDERSON (NWA World Championship Wrestling: Aired 2-7-1987)

SUMMARY:         APPROX. RUNNING TIME: 12:13 Min.

Taped in either January or early February of 1987, this house show match from Philadelphia’s Civic Center was aired on February 7, 1987, for WTBS’ World Championship Wrestling TV series.  Appearing without his Four Horseman cronies, Arn Anderson (then half of the Minnesota Wrecking Crew with Ole Anderson) faces off against rival Barry Windham.  At the time, Windham shared half of the NWA’s U.S. Tag Team Championship with Ronnie Garvin. 

Providing the match’s commentary are Tony Schiavone and promoter David Crockett.

REVIEW:

Making it look easy, even an average Windham vs. Anderson match-up surpasses many of their contemporaries on their best days.  While this TV showdown might not inspire multiple viewings, the sweaty workmanship that Windham and Anderson put forth in this rugged bout is still commendable.  More so, one gets a welcome clean finish in this nostalgic NWA treat.          

BRIAN’S ODD MOON RATING:                    7 Stars

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Books & Novels Children's Books DC-Related

BATMAN: SUPER-VILLAINS STRIKE (A CHOOSE-YOUR-FATE ADVENTURE BOOK)

Written by Michael Teitelbaum. Cover Art by Ron Zalme.

SUMMARY:

In 2012, DC Comics and Tom Doherty Associates, LLC (through its Starscape imprint) released this 144-page Bat-caper for elementary school students.  With black-and-white illustrations echoing the fourth season of Batman: The Animated Series, Gotham City’s Dark Knight takes on a solo mission pursuing four escaped villains from Arkham Asylum: Catwoman, Mr. Freeze, Poison Ivy, and the Riddler. 

Aside from deducing the shadowy mastermind behind this jailbreak, Batman may find himself outnumbered by his elusive foes.  Helped by solving enigmatic puzzles, readers make the risky decisions as to what Batman should do next.  With one ideal ending in sight, readers must tread cautiously to avoid leading the Dark Knight to failure, if not imminent doom.   

REVIEW:

Author Michael Teitelbaum devises a fun storyline where young readers can fairly navigate the plot twists.  Unlike most other titles in the choose-your-own-story genre, only a single path leads to victory.  More specifically, the option of at least partial success (i.e., capturing one villain) isn’t available.  Teitelbaum, in that sense, applies plausible realism to Batman’s mortality, so some younger readers might become frustrated thinking victory ought to be easier.  Still, this storyline’s simplistic entertainment value holds up relatively well.

Batman: Super-Villains Strike isn’t a remarkable find, but its target audience won’t likely be disappointed.    

ADDITIONAL FEATURES:

The first page is an introduction for readers new to the choose-your-own-adventure concept.  Included throughout the story are a series of word searches, word scrambles, mazes, and hidden/coded messages.  At the back of the book is the answer key, which includes an exact reading path to nab all four Bat-villains.    

BRIAN’S ODD MOON RATING:                    5½ Stars

Categories
CD's Jazz & Blues Music & Radio Shows Rock, R&B, Pop, Soul, & Metal/Symphonic

THE LAGOS MUSIC SALON (by Somi)

SUMMARY:                       RUNNING TIME: 1 Hr., 8 Min.

Released by Okeh Records in 2014, The Lagos Music Salon is fusion jazz singer/songwriter Somi’s fourth studio album.  Born and based in the U.S., Somi (Laura Kabasomi Kakoma) is of Rwandan and Ugandan descent.  Her album was inspired by an 18-month sabbatical she took in Nigeria. 

The album’s tracks are:   

                                                Running Times: 

  1. First Kiss: Eko Oni Baje   1:24
  2. Love Juju # 1  3:21
  3. Lady Revisited (with Angélique Kidjo)  3:55
  4. Ankara Sundays  5:18
  5. Ginger Me Slowly  4:03
  6. When Rivers Cry  (with Common) 4:28
  7. Brown Round Things  4:30
  8. The Story of Monkey  0:53
  9. Akobi: First Born S(u)n  4:06
  10. Two-Dollar Day  5:50
  11. Still Your Girl  4:46
  12. Four.One.Nine.  3:32
  13. Love Nwantinti (with In His Image)  2:10
  14. Four African Women  6:35
  15. Hearts & Swag   1:17
  16. Love Juju # 2  4:20
  17. Last Song  4:20
  18. Shine Your Eye  3:22

Notes: Somi is the first African female to be Grammy-nominated in a jazz category.  She is also an actress/playwright.

REVIEW:

After Track # 1 provides a ‘backstage’ introduction of sorts, The Lagos Music Salon concocts a classy blend of jazz and pop.  The exotic jazz instrumentals are somewhat reminiscent of Keiko Matsui, as far as projecting flawless fusion jazz.  A significant difference from Matsui’s ultra-smooth style, however, would be Somi’s sultry vocals, as each track carries a unique vibe. 

Note: Track # 15 is a brief interlude reminiscent of the first track.

Contemplating various romantic and cultural themes, Somi exudes an effervescent sound making The Lagos Music Salon a gem to hear. Hence, this album is absolutely recommended!          

PACKAGING:

The CD has a standard casing.  The insert booklet includes track information, an introduction from author Teju Cole, song lyrics, and photos of Somi.  Her thank-you notes are followed by the technical credits.

BRIAN’S ODD MOON RATING:                      10 Stars

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NWA WORLD TV CHAMPION TULLY BLANCHARD, WITH JAMES J. DILLON VS. “THE AMERICAN DREAM” DUSTY RHODES (NWA World Championship Wrestling: Aired 2-7-1987)

SUMMARY:         APPROX. RUNNING TIME: 9:34 Min.

Taped in either January or early February of 1987, this title rematch from the Los Angeles Forum subsequently aired on February 7, 1987, for WTBS’ World Championship Wrestling TV series.  In a battle of perennial rivals, an extra stipulation is a supposed $10,000.00 cash prize offered by James J. Dillon of The Four Horsemen.  Also making appearances are Barry Windham and The Horsemen’s Arn Anderson.  

Providing the match’s commentary are Tony Schiavone and promoter David Crockett.

REVIEW:

Given it is a standard TV-caliber match, Rhodes and Blanchard at least supply some worthwhile viewing.  One amusing sequence stands out: Rhodes and Dillon first yank a ‘semi-conscious’ Blanchard in a tug-of-war; and then Rhodes ‘double-teams’ the World TV Champion and Dillon with a flurry of his patented “Bionic Elbows.”  Otherwise, one can expect the usual shenanigans (i.e., Anderson & Blanchard draw blood on Rhodes), plus an invariably cheap finish. 

Considering the players involved, this NWA World TV title defense serves a nostalgic treat for mid-80’s NWA fans.

BRIAN’S ODD MOON RATING:                        5½ Stars

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NWA WORLD CHAMPION “NATURE BOY” RIC FLAIR VS. NWA U.S. CHAMPION “THE RUSSIAN NIGHTMARE” NIKITA KOLOFF {No Disqualification Match} (NWA World Championship Wrestling: Aired 2-7-1987)

SUMMARY:          APPROX. RUNNING TIME: 32:33 Min.

Taped in either January or early February 1987, this no-disqualification title rematch from Starrcade ’86 pitting the NWA’s two top singles champions against one another takes place at the Coliseum in Charlotte, NC.  The bout subsequently aired on February 7, 1987, for WTBS’ World Championship Wrestling TV series. 

Late in the game, backing Flair is his nefarious Four Horsemen crony, Tully Blanchard.  Koloff’s ‘Superpowers’ tag team partner, “The American Dream” Dusty Rhodes, also makes an appearance to even the odds.   

REVIEW:

It is easy to recall Sting and Lex Luger as the greatest power wrestlers challenging Ric Flair’s NWA World Championship reign in the Late ‘80s.  Yet, Nikita Koloff, in his prime, was no slouch, either. 

Considering Koloff’s remarkable in-ring chemistry with Flair, one wonders why “The Russian Nightmare” did not serve a brief run as the NWA’s World Champion.  His powerhouse gimmick, suffice to say, was ideal for the old school NWA mindset that preferred wrestlers over live-action cartoons. 

Despite a predictably inconclusive finish, Koloff demonstrates that he could readily keep up with Flair’s renowned stamina for more than a half-hour.  Make no mistake: Flair and Koloff’s athletic choreography ages far better than sitting through one of Hulk Hogan’s sluggish WWF World Title defenses against Nikolai Volkoff.  Wrestling nostalgia buffs, if anything, should consider revisiting the mid-80’s Koloff-Flair feud as some of the best low-key NWA World Title clashes of that era. 

BRIAN’S ODD MOON RATING:                       7 Stars

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Books & Novels Mystery & Suspense Sherlock Holmes-Related

THE DAUGHTER OF SHERLOCK HOLMES (BOOK # 1)

Written by Leonard Goldberg

SUMMARY:

Minotaur Books released this 305-page paperback in 2017.  Set in early spring of 1914, Dr.  John H. Watson, Jr. (both a medical school assistant professor and an expert pathologist) acknowledges that, with Sherlock Holmes’ passing, he now resides with his widowed father at 221b Baker Street. 

Pressed into service by a grieving sister, a revitalized Dr. Watson, Sr. and his son probe whether or not the aristocratic Charles Harrelston rashly committed suicide by plunging out a third-story window … or was he actually thrown from the roof to his death?  Their primary eyewitnesses are young widow (and ex-nurse), Joanna Blalock, and her precocious son, Johnnie.

Recruiting Joanna’s cooperation as a third sleuth, Watson, Sr. confides in his son the incredible secret of their new ally’s incredible deductive powers.  With the help of a second-generation Inspector Lestrade and a hound worthy of the name, ‘Toby’ the trio finds that Harrelston’s ill-fated gambling party with Dr. Christopher Moran is the first ugly tragedy befalling a quartet of old war buddies. 

Despite unraveling multiple homicides, a courageous Joanna must take the ultimate risk in order to snare a vindictive serial killer.  

Notes: This title is also available digitally. 

REVIEW:

Leonard Goldberg’s slick legacy template for Sherlock Holmes enthusiasts is not as intriguing as it might have been. 

For instance, this novel is not some revisionist caper about Moriarty’s love child with Irene Adler posing as Holmes’ long-lost daughter, ingeniously humiliating the Watsons, and then leaving the bewildered father-son duo to rot in prison. As different as that wicked comedy scenario might sound, Goldberg devises a far more conventional, pre-wartime sequel imagining a world after Holmes’ passing. Still, for as much potential The Daughter of Sherlock Holmes conveys, Joanna Blalock’s first murder-mystery case errs in four significant ways. 

First, as a formulaic whodunnit, Goldberg’s storyline treads closer to Columbo than to Conan Doyle.  By revealing the culprit’s identity from practically the get-go, Joanna’s deductions of how each murder is committed then leaves readers with essentially a ‘why-dunnit,’ with too few surprises.  With Sherlock Holmes’ heir and the Watsons too quickly deducing their quarry and a presumed motive, Goldberg has them repetitively deem their accumulated evidence as insufficient for prosecution. 

Yet, why shouldn’t Scotland Yard’s best forensic experts concur with their expert deductive assessments?  From the way Goldberg presents their medical analysis, even semi-competent law enforcement officials wouldn’t blow off such circumstantial evidence as pure conjecture. By playing off familiar genre clichés, Goldberg insists on stringing his audience along as to what ‘red-handed’ proof will inevitably snare the all-too-obvious culprit.  Many mystery fans won’t mind such a ride, but that leads to the novel’s second major flaw. 

Goldberg repeatedly pushes visual autopsy sequences that are unnecessarily too technically-detailed and, even worse, provoke disgusting imagery to readers.  Rather dubiously, Goldberg can invoke squeamishness without a corpse necessitating a scalpel for any internal dissection.  One wonders if, as a real-life physician, Goldberg is flaunting his medical knowledge through the detective trio as a means of padding his page count. 

Goldberg’s unimaginative storyline also suffers from pushing far too many second-generation clones (i.e., Watson, Jr; Mrs. Hudson; Lestrade; Moran; Toby Two, etc.) of Conan Doyle’s cast.  The author’s writing style is strong enough that such blatant name dropping should not be necessary.  Though these legacy characters better fit Goldberg’s sequel titles, their introductions all crammed within The Daughter of Sherlock Holmes come off as an eye-rolling gimmick for glorified fan fiction. Instead, Goldberg would have been better off phasing in his next generation throughout the series as welcome surprises.

Lastly, the murky continuity Goldberg deploys in setting up this batch of namesake heirs makes little sense, especially if his Holmes is already dead, as of 1914.  For instance, the introduction states Holmes died in 1914 – the same year as Joanna’s introduction.  Yet, this book (not to mention, future books) subsequently reference Holmes as being ‘long dead,’ as if several years have lapsed rather than mere months.  Another element to remember is that Holmes’ romantic liaison with Joanna’s mother would have occurred nearly forty years before.  Yet, Goldberg’s likable ‘Joanna’ appears to be, at most, in her early thirties.     

The Daughter of Sherlock Holmes, accordingly, should be treated as more of a reference guide for the ongoing series.  Subsequent espionage-flavored mysteries, such as A Study in Treason and The Disappearance of Alistair Ainsworth, supply more satisfying reads exploring Joanna Blalock’s destiny as her father’s sleuthing successor.

ADDITIONAL FEATURES:

Goldberg’s ‘Watson, Jr.’ supplies both an introduction and his closing notes.  It is conveyed that, like his father before him, Watson, Jr. now chronicles Joanna’s ongoing adventures. Simultaneously, this epilogue could be deemed as a satisfying end to Goldberg’s premise, had he opted not to produce further books.

BRIAN’S ODD MOON RATING:                   5½ Stars

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WCW LAST-MAN-STANDING, OVER-THE- TOP MILLIONAIRES’ CLUB VS. THE NEW BLOOD BATTLE ROYAL (WCW Thunder: Aired 5-3-2000)

SUMMARY:                 RUNNING TIME: Approx. 26:12 Min.

At the Mid-South Coliseum in Memphis, TN, this street fight battle royal served as the main event for WTBS’ WCW Thunder TV episode on May 3, 2000.  Reminiscent of the NWA’s anything-goes Bunkhouse Stampedes of the late ‘80’s, participants wear ‘street clothes’ and the New Blood faction brings blunt weapons of choice.  Baited by “Nature Boy” Ric Flair, the New Blood’s Eric Bischoff agrees that the last-standing participant scores a WCW World Heavyweight Championship title shot at the Great American Bash Pay-Per-View the following month. 

The vastly outnumbered Millionaires’ Club is led by Flair.  Joining him are “Diamond” Dallas Page; Sting; Hulk Hogan; “The Total Package” Lex Luger; Curt Hennig; Horace Hogan; “Hacksaw” Jim Duggan; Chris Kanyon; Hugh Morrus; and KroniK (Brian Adams & Bryan Clark).

With 20-25 guys, Bischoff and Vince Russo’s New Blood army consists of: Jeff Jarrett; Billy Kidman; Harlem Heat’s quartet (including Booker T, Stevie Ray, & Tony Norris – the WWE’s ex-“Ahmed Johnson”); Tank Abbott; Mike Awesome; Van Hammer; Ernest “The Cat” Miller; Chris Candido; Shawn Stasiak; Marcus Bagwell; Vampiro; Scott Steiner; Konnan; Johnny the Bull; Disco Inferno; The Wall; Bam Bam Bigelow; The Harris Brothers; and Norman Smiley. 

Additional guest stars includes: Bret “Hitman” Hart; Madusa; Mona; Asya; Tammy Lynn Sytch; and, in his final WCW appearance, “Macho Man” Randy Savage (who had abruptly exited WCW soon after Road Wild ’99).  Ominously mentioned as ‘locked away’ by Russo, Miss Elizabeth does not appear.   

The match’s commentary team consists of Tony Schiavone, Bobby “The Brain” Heenan, & “Iron” Mike Tenay.

Notes: As a parental advisory, this free-for-all includes man vs. woman violence.  RE: stars not included: for The Millionaires’ Club, among them are Kevin Nash, Sid Vicious, Rick Steiner, & Barry Windham; for the New Blood, one could mention, for instance, Chuck Palumbo, Mark Jindrak, and Sean O’Haire. Goldberg’s absence, at the time, was due to an extended injury leave.

REVIEW:

Let’s review the backstory first.  By mid-2000 (WCW’s last full year of operation), World Championship Wrestling was in freefall, both creatively and financially.  Out of desperation, a hapless WCW rehired ex-boss Eric Bischoff and one of his failed successors, Vince Russo, to co-manage the promotion; this uneasy partnership, suffice to say, lasted a few months.   

Their short-lived ‘big idea’ was to vacate all championships and forcibly reboot the company in a variation of its profitable 1996-99 WCW vs. New World Order (NWO) mega-feud.  Including several of its biggest-name NWO alumni, the company’s aging main eventers (aka ‘The Millionaires’ Club’) were pitched as lumbering yet sympathetic babyfaces. 

The snarky villains would be WCW’s suppressed young talent, with veterans Jeff Jarrett and Shane Douglas cast as its in-ring leadership.  Predictably, Russo and Bischoff doubled as the New Blood’s gloating on-screen masterminds.

As with Bischoff’s NWO, such a concept had been lifted from Japan, so there was a successful precedent.  Further, pitting two wrestling generations’ legitimate resentment/animosity against one other seemingly made good sense on paper, at least from WCW’s perspective.    

Here’s the rub: Ted Turner’s WCW too often didn’t grasp long-term planning, let alone foresee fallout from ultra-stupid booking (i.e., 1990’s Capitol Combat: The Return of Robocop).  Once Bischoff and Hulk Hogan transformed WCW into their hugely expensive playground, such bone-headed decision-making gradually shifted to the rule vs. being forgiven as misguided exceptions. 

Case in point: subsequently ceding creative authority to an ultra-selfish Hogan and Kevin Nash, among others, a series of ludicrous programming blunders became the obvious culprit for WCW’s eroding fanbase. Still, if all went well, this overbooked Bunkhouse Stampede featuring nearly the entire roster would then justify how Russo & Bischoff programmed WCW’s upcoming summer Pay-Per-Views.    

Spelling out WCW’s dumpster fire mentality, unfortunately, this grungy, all-star gang warfare is best skipped.  Veterans, such as Page, Jarrett, and even a fifty-year-old Flair (in a dress shirt and slacks, no less), muster decent fight choreography for TV.  It isn’t nearly enough to overcome Russo & Bischoff’s blatant disrespect for pro wrestling fans’ intelligence.  Whatever their motives were, this smug duo appears on-screen practically gleeful peddling trash to disinterested WCW audiences.      

For instance, despite the varying camera angles, it is impossible to tell which unaffiliated ‘mercenary’ is on which side – invariably, some even switch sides. More so, the match’s chaotic nature doesn’t show when or how several participants (especially late-comers) enter and/or leave the ring. Perhaps these confusing match elements were meant as bits of shades-of-gray realism, but they certainly fall short of watchability.

One element, however, is inevitable: WCW’s tone-deaf squandering of mega-star talent on its payroll, especially as outside inference.  For instance: off WCW television since Fall 1999, a jacked-up, 47-year-old Savage’s unexpected return initially pays off.  Yet, Savage’s half-hearted series of running double-ax handles on the opposition implies how far his renowned mobility had diminished.  Teasing that the “Macho Man” had resumed active duty, his one-shot presence leads to nothing – aside from a brief reunion of the Mega-Powers.

Another unnecessary eyesore is Bret Hart’s own brief contribution.  To epitomize his disappointing WCW tenure, Hart’s chair-swinging actions, let alone his murky allegiance, make no sense to the supposed plot.  Lastly, the company’s worst sleaze is the New Blood’s gang-style violence perpetrated against female wrestlers (and vice-versa).   Faked or not, such visuals come off as an utterly putrid display packaged as so-called “entertainment.”

If anything, this ugly battle royal is a master class in wasting the still-considerable talent pool that WCW had under contract – both its past-their-prime legends and the supposedly rising New Blood horde. 

BRIAN’S ODD MOON RATING:                  1½ Stars

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THE ROAD WARRIORS (HAWK & ANIMAL), WITH PAUL ELLERING VS. THE MIDNIGHT EXPRESS (“PLAYBOY” DENNIS CONDREY & “BEAUTIFUL BOBBY EATON), WITH JIM CORNETTE & BIG BUBBA ROGERS {Scaffold Match} (NWA World Championship Wrestling: Aired 2-7-1987)

SUMMARY:             APPROX. RUNNING TIME: 9:00 Min.

Taped in either January or early February 1987, this scaffold rematch from Starrcade ’86 (with all the same players) occurs at the Los Angeles Forum.  The bout subsequently aired on February 7, 1987, for WTBS’ World Championship Wrestling TV series.  Per the match’s stipulations, both tag team partners must fall from the scaffold devised above the ring for the other team to prevail. 

From Jim Cornette’s purported description of the Starrcade ’86 bout, the NWA’s scaffold set-up was an estimated twenty-five feet off the arena floor, as compared to about twenty feet above the ring’s mat.  Provided a six-foot wrestler is precariously hanging beneath the scaffold at his full outstretched height, one is still looking, at best, at a fourteen-foot drop.  

REVIEW:

As Cornette had gruesomely blown out his knee in a botched scaffold stunt a few months earlier at Starrcade ’86, it’s no surprise that his contributions are restricted to taunting.  Later rebranded as the WWF’s Big Boss Man, Big Bubba’s menacing presence amounts to nothing this time.  The same applies to Hawk & Animal’s manager, Paul Ellering. 

If anything, Condrey and Eaton’s initially on-screen leeriness is justifiable – as if anybody really wants to plunge the equivalent off the roof of a house, with little to no padding waiting below.  Given such enormous risk, stunt work in scaffold matches conveys 250+-pound guys straddling a tightrope, and this ultra-predictable bout is no exception. 

The good news is that the losers had prior experience taking such perilous falls and managed to evade injury – lucky them.  Conversely, despite its star power, this “Night of the Skywalkers” rematch struggles to be watchable. 

BRIAN’S ODD MOON RATING:                       4 Stars

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