Disc Type

The blues has had a tremendous impact on our contemporary popular culture, as it is largely the foundation of what we have come to understand as “pop music.” Without the blues, cultural phenomena such as Rock N’ Roll, Beatlemania, the British Invasion, heavy metal, hip-hop, gangsta rap, grunge, and contemporary pop would have evolved much differently. Even as I look over that list, I can’t make an argument for any one of those cultural shifts to be as impactful or as lasting as the blues. Perhaps I am a little biased as a rock enthusiast and musician, but every good guitar player knows that most of their stylistic flair can be traced right back to the Deep South.

I Am the Blues takes audiences through some of Louisiana’s bayous and parts of the Mississippi Delta in order to capture what can be described as the spirit of the blues. Daniel Cross managed to film multiple powerful performances and develop a narrative that provides a philosophical cohesion the emulates the blues itself: simple enough to understand, yet complex enough to be just out of reach. With Bobby Rush’s guidance, Cross takes viewers on a pilgrimage to the Chitlin’ Circuit, grabbing interviews and performances of local blues legends along the way.

I used to be a basketball fan back in the '90s when Michael Jordan was a God on the court and you had Larry Johnson as “Grandmama” before Madea was ever a thing. Every year, some sort of inspirational sports story seems to come out. And for the most part it seems, whether it's basketball or another sport, it’s generally the same story. But every once in a while one of the films will break the mold and give us something special. Don’t get to excited: I’m not saying Wolves is one of those films, but it is at least better than most of the other films of its ilk. I can still watch an NBA game and enjoy it, but it’s just not the same for me. I bring this up because, honestly, I was worried my lack of passion for the game could influence my thoughts. But as any good sports film should do, the story manages to transcend the sport and deliver engaging drama off the court. Unfortunately, there is a bit more drama than this film can handle.

Anthony (Taylor John Smith) goes to private school in Manhattan and is the star player on the school’s basketball team. As their season is winding down and the playoffs are in sight, he is being scouted by Cornell University, where Anthony has dreams of attending. Even as a standout, his coaches and family have concerns that he lacks the aggression it takes to be the next level standout he has the potential to be.

In one corner you have U.S Attorney Chuck "The Scholar" Rhodes, played by Paul Giamatti. He's the reigning world champion with a record of 80+ to 0. In the other corner is Bobby "Axe" Axelrod, played by Damian Lewis; he could also be considered undefeated. He runs a sexy brokerage firm. Both of these guys walk and talk like champs. There's a lot of trash-talk between them, but both have very lurid and potentially devastating skeletons in their perspective closets. This season finds them each willing to risk anything just to get to the other.

The strength of two very strong performances immerses us in each of these worlds to a point that we discover something none of these players know, or at least would be willing to admit. They are very much the same, and the culture of their careers is more alike than not. Both are willing to bend a rule for "the common good", and both believe themselves to be the heroes of their own stories. And that's where the writing and acting come together for a nice perfect storm. Both characters are heroes to the people around them. They've developed almost cult followings. Both are admirable people. Of course, the opposite is just as true. These guys can both play the anti-hero with the best of them. There is both great good and great evil in both. If that sounds complicated here, just imagine how hard it would be to actually pull off. And in Season Two that obsession goes to limits that surprised even me. Both men are literally willing to give up their families, wealth, and careers to bring down the other. The term “nuclear option” means nothing to these guys. The final couple of episodes play out a round in this game that could very well take them both out. They cross some very big lines that you simply can't come back from.

"Welcome back to New Orleans."

The most recent member of the NCIS family enters its third season. There are some changes, but not just in the show's cast. I have noticed a concerted effort to use the term NOLA by both the characters and various signs and symbols displayed throughout the new season. It's a bit odd, because at one point a character chastises an outsider that the locals prefer New Orleans. Minutes later that same character uses the term NOLA. The crew now even wear lanyards that say NCIS:NOLA on them. I have not been to New Orleans post-Katrina, so I'm not up on whatever local thing might be going on with the name. I suspect there are some politicians who are using the new designation in order to help re-brand the city. Whatever's going on, the series is apparently caught up in it. The term even shows up in episode titles.