This was essentially the husband/wife team of Marv and Rindy Ross from Portland, Oregon, whose earlier bands morphed into what was presented as a street-smart/grass-roots version of Pat Benetar. Or Rush? It's really hard to tell by the mysterious but confusing cover art which renders the band abysmally anonymous. 2 timeless, completely unassailable prime pop songs shamelessly denim pleathered-over by a sad rack of vague-to-retching new wave and soft rock compositions. I'll leave it to you to guess which two songs, but I can give you a hint - "Find Another Fool" isn't one of them.

This odd reality TV precursor was a surprise hit at the turn of the 80's spawning a small list of imitation shows, including a couple of spinoffs on NBC itself. Having recently viewed the first 2 episodes on Amazon (I vaguely remember watching it first-run), the stories were infinitely more interesting than the rest of the program, which was usually overstuffed with a heaping, bland mix of Laugh-In style humor and SNL-live bloopers. In other words, it was a show for real people.

Roughly 20 years ago, Max Kellerman seemed like a name on the rise in the world of sports and media punditry when he bolted his cushy gigs at ESPN hosting Around The Horn and Friday Night Fights for his own show at Fox Sports Net. And when I say own show, I mean "own show" - he called it I COMMA MAX, paused everyone with a "MeVR button", and in general was too far gone among the swelling tides of grandiosity and extreme self-deprecation. He was also buried deep in the basic cable stack on the less-available FSN, while his infinitely more agreeable replacement Tony Reali made a surprise hit out of ATH on ESPN, and has lasted to this very day. Along with former "Disembodied Voice" Bill Wolff and Michael Holley, there are lots of familiar touches and quirks carried over from Max's time on ATH to this program. The format of the show changed a lot in the short amount of time it aired, as the original Max vs. The World boxing theme gave way to a more generic PTI rundown-style discussion by the show's end. In the end, what once generated a ton of buzz quickly sucked itself into the dustbin of sports media history, to be brought out as a curiosity to consider. Especially if you need some fodder for the water cooler.

Grand Puba's initial verse from "One For All" is in the running for best lead in hip-hop history!

By this point, Geto Boys albums began to read like a macabre anthology of grisly ghetto slasher/horror stories, with each subsequent release trying to outgross the previous effort. It all came to a peak in the fall of 1991 when they had a hit with "Mind Playing Tricks On Me", followed quickly by Scarface's solo release, which turned out to be another thriller, and on a lot of levels, better than actual Geto Boys records. Essentially, this is a Geto Boys-style record executed by Scarface, with his own unique imprint (the man in the black hat), so it's fairly clear Willie D and Bushwick weren't really needed to make Geto Boys records, right? "A Minute to Pray and a Second to Die" thematically capitalizes on "Mind Playing Tricks On Me's success, and like every good horror protagonist he had enough sense to off himself at the end ("I'm Dead"), but not before leaving a trail of dead bodies ("Diary of a Madman").