How much is enough when your soul is empty?
How much is enough in the land of plenty?
When you have all you want and you still feel nothing
How much is enough, is enough?

How much is enough?
Buy, buy, buy
Buy, buy, buy

We're drowning in possessions

If Cy had only known then how things would evolve over the next 35 years, as income inequality proved ever-widening, he and his bandmates might have waited to release the song.

Those with obscene amounts of money are wielding unprecedented power in the United States, and it’s easy to be disheartened by the lack of compassion and the massive consumption of the uber-wealthy today. I think actor Jesse Eisenberg said it best when he appeared on Real Time with Bill Maher in January of 2025 and had this to say about tech billionaires and politics:

”If you’re so rich and powerful, why are you not just spending your days doing good things for the world?”

Good question. And while it’s tempting to hop on that bandwagon and lambast Bezos, Musk, Zuckerberg and the like, it might also be time to look in the mirror and question our own motives in life, because from where I’m standing, there’s a lot of “amass as much wealth as you can, retire and live out your days in a gated community somewhere” mentality.

It’s true for some relatives of mine. It’s true for many friends of mine. And if I’m being honest, it’s true for me and my family. I spend a lot of time watching financial videos by Rob Berger on YouTube, reading articles on Investopedia and Motley Fool, updating spreadsheets and forecasting when my wife can retire. It’s not like this is foolish behavior – financial literacy and planning are important – but what exactly is the goal here? When the world appears to be headed for irreversible disaster, am I just hoping to ride off into the sunset and escape from reality?

The antidote for this type of mentality – whether you’re a billionaire or otherwise – is to get involved. Find a cause or causes that you feel strongly about, and start contributing, not just financially, but with your time. I was teaching English for a few years, and since that petered out a year ago I’ve made a few modest attempts to find something new to contribute to, but so far those have gone nowhere. One of the sad truths in life is that non-profits aren’t always well-organized and often lead to wasted time and dead ends. But when that happens, it isn’t time to give up on volunteering; it’s time to find a different non-profit.

Volunteering boosts one’s outlook on life, creates social connections with like-minded people, leads you out of the bubble you’ve been living in, and makes a difference in the lives of people or the lives of plants and animals. Those differences might be small, but that’s okay. If you’ve ever been in need of a little help, you know how important small acts of kindness can be.

So don’t follow the blueprint of billionaires. Don’t look at life as a way to accumulate wealth and ride out the rest of your lives in a bubble. Get involved.

This particular project probably only took me a day to execute, but it was the planning that took a week or more. I thought about it from every angle, measured and remeasured, watched videos on something called a pocket jig (who knew?), purchased said jig at Menard’s and perused shelving possibilities (Natural wood? Primed? Coated? Size?), read up on how best to anchor the sideboard into a wall that lacked properly-aligned studs...in short, I overplanned, but by the time it came to execution, well, I was ready.

And for me, planning is absolutely necessary, because I have no natural ability and have had no schooling of any kind except The Home Depot Home Improvement 1-2-3 book that my brother-in-law purchased for me back in 1997 when my wife and I moved into our first home. This was a game-changer. After all, I had never heard the words “home” and “improvement” in the same sentence in my childhood home. Sure, my mother could strip furniture and throw on coats of stain and varnish, but the only time I recall my father trying to fix something, it resulted in blood and lots of swear words, so I knew to stay clear of tools and manual projects.

When I purchased a house, I noticed all sorts of things that needed fixing, but I knew nothing. I mean, NOTHING. How do you swap out an electric outlet? No clue. How do you strip wallpaper? No clue. How do you take out a carpet and tack strips? No clue. My wife had married a man who was about as handy as screen door on a submarine.

But I was curious, I was motivated, and I wasn’t afraid to ask questions and try things. Back in these days before YouTube, it was my friend Rick who saved the day, sending me long, detailed emails that walked me through various tasks.  What he sometimes failed to realize was that I didn’t even know how to use a tool properly. I recall the first time I made a cut with a circular saw as part of a project to build my own music rackmount box: my hands were shaking, I was so terrified, sure that I was about to lose a finger or an eye. Today, I have to remind myself to wear eye protection when making a cut. I’ve come a long way.

Since then I’ve tackled all sorts of projects, including some that make me shudder today, as in “That was kind of crazy – I’m not going to do THAT again.” I’m no longer willing to do those. But projects like adding stairway railings or building record racks or installing pantry shelves? You betcha.

Say it with me: low stakes.

So I’m going to spend the next several months ascertaining which project to accomplish, a few more months planning said project, and by the fall I might be ready to put the plan into action!

Chris and I were delighted by the number of responses we received from listeners, further proving the point that although people aren’t always willing to tackle the pressing issues of our times, they will happily piss away a few hours on a completely frivolous endeavor! We thought it would be helpful to include everyone’s picks in one place so that they might inspire further investigation. There are tons of choices of artists I’ve never even heard of, much less listened to, and I hope to check some of them out in the days ahead.

For me, I stuck to rock and pop and didn’t go down the jazz or classical rabbit holes. Some letters - B, C, J, P, S - were exceptionally difficult, while others - G, N, O, Q, U, Y - were absolute no-brainers.

Consider coming up with your own choices before perusing the lists below. Please ignore misspelling, and please don’t shoot the messenger when it comes to entries that should have been disqualified (Elvis Costello as an E entry, for example); Chris and I didn’t catch some of these as they came pouring in toward the end of our podcast challenge. Also, consider checking out author S.W. Lauden’s Substack where he addresses the same music challenge. And yes, I am aware than Ken was messing with us when he chose acts like USA for Africa and Pia Zadora. All good!

On his Substack, Lauden has an on-going series called ‘Is It Power Pop?!” in which special guests recommend five great power pop tracks that music fans should be aware of. I had the pleasure of submitting this week’s entry, and I have to say, writing about music is much harder than playing music, but I did my best and chose five killer tracks. You can check out my entire essay on Lauden’s site, but below are my choices. Some might teeter on the edges of power pop, but they’re all great songs:

“Money’s No Good” by Off Broadway
”Here Comes Sally” by Glen Burtnick
”She’s So Young” by The Pursuit of Happiness
”Our Story” by The Judy Bats
”Caught in the Middle” by The Red Button

Be sure to click subscribe on Lauden’s Substack, and also check out his music-related books, both fiction and non-fiction. The guy’s a gem! You can hear our interview with Lauden on episode 111 of 1000 Greatest Misses.

It can often feel as if we’re powerless, but as with so many things in life – being kind, giving to charity, supporting local political movements, disposing our toxic waste properly – it’s important to live according to one’s values. It boosts our sense of self, it provides a model for our children, and it potentially moves the needle of society in some small way.

My wife and I had been saying for over a year that we should really ditch our subscription to Amazon Prime, not because it isn’t a good deal – it is – but because we don’t really want to support powerful companies anymore if they can be avoided. After all, I cancelled my Spotify subscription last year without regret, and I wondered if life without Amazon would be equally unproblematic. There are a lot of online articles you can research about how to shop without Amazon, but I decided I wasn’t going to bother – just go in and get ‘er done.

So we pulled the plug to our Prime membership a few months ago, and you know what? So far it hasn’t been a big deal at all. I’ve had to search a little harder for some items, but I ultimately found what I needed, and sometimes at lower costs than I would have paid on Amazon.  Here are a few examples:

Audio cables: I tried Best Buy, Crutchfield and Audio Advisor, but none offered what I was looking for. But then a search led me to Sweetwater, where I’ve often purchased recording equipment. Turns out they provide some home audio accessories for the same cost as Amazon, with free shipping and quick delivery. Perfect.

Soap dispensers: we were unhappy with the ones we purchased at Target a few years back and wanted something that would last a while. We opted to go to a local retail store called Uncharted, which now has around ten stores nationwide. It’s a fun place to browse – exactly the kind of brick-and-mortar store we want to support.

Two healthcare items to help with my arthritis: this was trickier. Ultimately, I saved about $20 by not purchasing them on Amazon and instead ordering from Walmart. Now, Walmart is not exactly a local mom and pop store, but it’s still less than half the size of Amazon. Not a perfect solution, but it got the job done in a pinch. This example shows the limitations of trying to avoid behemoths.

Books: there’s been a lot of buzz about the resurgence of Barnes and Noble, which has reimagined its business philosophy and is adding dozens of physical stores. It’s funny how what was once considered the “Big, Bad Bookstore” is now considered an underdog. Still, I haven’t had a great deal of success finding what I want at Barnes and Nobel. Instead, I’ve went the used route, purchasing second-hand books through eBay, often from charitable organizations. There’s also a great local used bookstore a few miles from my house that I try from time to time. They don’t always have what I’m looking for, but sometimes they come through.

My experiment of life without Amazon has only gone on for a few months so far, but I already think it will last. If needed, I can imagine paying one month of Prime during the holiday season when we’re making a lot of purchases and sending them out of state, but I’m hoping we can even avoid this compromise. Give it a shot! We lived without Amazon before the late 90s, and we can do it again. Maybe when Bezos sees tens of thousands of people unsubscribing from Prime, he’ll start to pay attention.

If I stand too long, I need to sit.

If I sit too long, I need to stand.

This is not the way it used to be. I remember grooving with a gang of friends at a Jimmy Buffet concert back in 1990 and getting barked at by the old fogies behind us who wanted us to sit down. Now I’m one of those old fogies, except that I because I remember youth, I never tell someone to sit down. I just deal with it and wish I was forty years younger.

Last October I attended a Major League Baseball playoff game with an expensive seat that I paid for, and from the opening notes of “The Star Bangled Banner” to the last toss to first base, the crowd stood. Similarly, when I went to a Keane concert at the Chicago Theater in 2024 with an expensive seat that I paid for, from the opening chord to the last note of the encore, the crowd stood. I said not a word at either event, but I sure had to pick my spots to take a little breather and remind my body that it just had to hang in there for a little while longer.

Why? Why do we feel compelled to stand when we can just as easily see the action with our butts on the seats we paid for? There must be something about the act of standing that feels more engaged, more intentional, but man, do I wish it wasn’t so.

At least with a paid seat you can rest from time to time, but after attending an standing-room-only concert in Chicago last fall, I think I’ve sworn off these venues for good. I spent much of the night shifting from side to side and taking stretch breaks and walks to loosen my limbs. I just can’t do it anymore.

“Maybe it’s just standing in place that’s a problem. What if you’re moving around?”

Yeah, well, that can be an issue, too. When I work at the record store, I’m fairly mobile, restocking shelves, retrieving inventory, alphabetizing and helping customers. But after just two or three hours, my back feels like it’s a corkscrew.

“Well then, sitting must surely be okay.”

Oh, if only! I played piano on Christmas Eve at a church service, and I was reminded that extended sessions at a piano bench are no better than standing. After every carol ended in a “Halleluiah” or “Fa La La,” I took an opportunity to stand and stretch.

“So you can’t stand, you can’t walk around and you can’t sit. What can you do?”

Um…honestly, complain. That’s about all I have left.

When I told my daughter about this eerie coincidence, she texted: “Dude stop watching movies!”

It’s terribly upsetting, and the news capped off what had already been a horrific weekend of calamities with mass shootings at Brown University and Sydney, Australia, that latter a hate-based anti-Semitic crime that resonated with my wife and me as we lit Chanukah candles last night. Such madness. So senseless. That the Reiners were murdered hours before they too might have lit their own holiday candles also hit home.

Reiner had been a Hollywood thread for my entire life, beginning with his portrayal of Michael Stivic on All in the Family, which I recall watching on TV with my family when I was 3 or 4 years old. Then came Reiner’s directorial career, with a string of successful movies that few directors have matched in all of film history: This is Spinal Tap, The Sure Thing, Stand by Me, The Princess Bride, When Harry Met Sally…, Misery, A Few Good Men, The American President. An amazing run. A few years ago he directed a great documentary on actor and writer Albert Brooks, and his year released the long-awaited sequel, Spinal Tap II: The End Continues. This may not have been a masterpiece, but it was a joy to see Reiner return as filmmaker Marti DiBergi, playing straight guy to Christopher Guest, Michael McKean and Harry Shearer.

But perhaps more than his contributions to TV and film was his joyful presence and model of sanity in an ever-increasingly angry and insane world. Like his father Carl Reiner before him, he oozed positivity, worked tirelessly in helping others, and just seemed like an all-around good guy. We could use more of those today.

Rest in peace, Rob, and rest in peace, Michele.

Today, live performances are often the reverse, with a good chunk of it being played to backing tracks. I’m sure we’ve all been to shows where you heard brass and keyboards, only to find that no one on stage was actually blowing a horn or playing a keyboard.

Last month I attended a concert by the female-fronted New Zealand band, The Beths, and they were terrific. All four band members know their instruments, and they sounded great. Unfortunately, they sang to prerecorded backing vocals and harmony vocals, played to backing keyboard tracks on a few songs, and added massive amounts of reverb and prerecorded ambient noise that filled the performance with a rumbling bed of sound. It was so unnecessary. It’s not like these aren’t great musicians. They could have played everything live and done a terrific show, but something compels The Beths and other bands to have their live performances sound exactly like their studio recordings.

What all this leads to is a lack of spontaneity, preventing something surprising and exciting from happening. Yes, you’ll hear a good reproduction of the music you’ve been accustomed to hearing, but what you won’t hear is a happy accident, a band that extends the jam and spontaneously starts playing a different song. You won’t get Led Zeppelin taking a song like “Dazed and Confused” and turning into a 20-minute venture that leads to…well, to who knows where? And sure, the self-indulgences associated with the 70s sometimes led to laborious performances, but they also led to amazing discoveries. I’m not a Grateful Dead guy, but from what I understand, each of their performances were unique, with songs morphing into others and outros extending into monster jams. The band might not have been my jam, but I appreciate the philosophy of keeping live performances loose and open to discovery rather than highly choreographed, each identical to the next.  

There are still bands that allow for live exploration. Khruangbin did so last month in Chicago, as did Jason Isbell and Molly Tuttle at Red Rocks last spring. Truly live music still exists, but little of it is in the more mainstream pop and rock arena, which is one reason why I’m likely going to be more selective in what I see in the future. I’d rather see a 100% live show that isn’t my favorite music than a show of a band I really dig who’s playing to backing tracks. I just don’t see the point.

So much of our human experience has degraded into something artificial. Give me something authentic, even if imperfect.

Of course it wasn’t all social interactions for me: I wrote and recorded songs, tackled significant home improvement projects, practiced various instruments, etc., but it’s true that among my circle of friends, I’ve often been known as the guy who reaches out and plans things. This has mellowed over time, but for years I was a big event organizer.

Yesterday, I hung out with an old friend who said it took him a long time to come to peace with the fact that he’s happiest when he’s on his own and able to listen to music or watch a concert DVD or play the piano. For so long he’d judged his preferences, like there was something wrong with him, but over time he’s learned to accept that he enjoys solitude and doesn’t necessarily care to associate with people on a regular basis.

His realization reminded me of a blog I wrote last year called Pursuing Happiness, in which I described how so often we judge ourselves based on what others are telling us we should enjoy.

We’re told we should see the world, but I don’t particularly like traveling overseas. We’re told to go on cruises, but I didn’t really dig my cruise experience. We’re told to see the latest ginormous concert event, but I don’t want to see a concert at a stadium at all, much less pay a small fortune to see it. We’re told to modernize our homes to match the latest trends, but I like the old, cozy feeling of my 1928 bungalow.

It can take a while to accept who we are and what our preferences are. And I’m not suggesting that our lives should be static and that we shouldn’t stretch ourselves and grow and discover, but it doesn’t have to be what society is telling us. And in most definitely can include spending a Saturday watching concert DVDs.

My buddy found a degree of validation in an old Warren Zevon song called “Splendid Isolation,” a track I hadn’t heard before, but it’s a perfect example of what Zevon was capable of: communicating the truth comedically:

I wanna live all alone in the desert
I wanna be like Georgia O'Keefe
I wanna live on the Upper East Side
And never go down in the street

Splendid isolation
I don't need no one
Splendid isolation

Michael Jackson in Disneyland
Don't have to share it with nobody else
Lock the gates, Goofy, take my hand
And lead me through the world of self

Fun stuff. And look, no one is suggesting that we should live a hermit-like existence. My buddy who likes solitude is also a loving husband and father who has a full-time job that requires constant interaction with others. He’s no J.D. Salinger. And maybe these other responsibilities are what makes alone time so precious to him. Perhaps when he retires he’ll be itching for more communal time.

But whatever. He should do him. I should do me. And you should do you. Yes, I think we all have an obligation to help those around us who are in need. But beyond that, put on that Rush DVD and enjoy!

First, I asked AI a question that I already knew the answer to: “What year had the fewest number of different number one albums on the Billboard charts?”

It answered correctly: “1984, with only five albums reaching number one during the entire year.” An amazing statistic, I think, and one I may write about in the future.

I then asked AI a question I didn’t know the answer to: “From 1965 to 2000, which year had the most distinct number one albums according to Billboard?”

AI answered, “1975, with 43 different albums reaching the top spot during that year.”

Forty-three! Wow! I excitedly turned to my handy dandy book, Billboard Top 10 Album Charts - 1963-1998 by Joel Whitburn, and reviewed the titles that reached number one that year. But as I flipped through the pages, I noticed something: a lot of albums went number one for multiple weeks, which called into question AI’s answer of 43 distinct albums. Sure enough, I counted only 20.

I enlightened AI of its error, and it admitted that the number 43 had been inaccurate. The actual number of distinct albums reaching number one in 1975 was 20.  

Me: “Can you answer the question correctly this time? What year between 1965 and 2000 had the most distinct number one albums?”

AI: “1975, with 20 different albums reaching number one that year.”

Okay, cool. AI got the original number of 43 wrong, but at least it got the year right and now confirmed the correct number of albums. All good, right?

Well, no. Because I then turned to 1974 in my book.

Me: “I just counted 24 in 1974. Is that correct?”

AI: “Yes, you are correct.” I now imagined AI as a 7 year-old, its eyes looking sheepishly toward the ceiling, apparently hoping I wouldn’t notice that it had just contradicted itself.

I then went into what might be considered the AI equivalent of road rage. “So, help me understand what’s going on here. You said that there were 43 different albums in 1975. I then corrected you and you agreed that it was only 20 albums. Then I asked you which year had the most distinct number one albums and you said 1975 with 20 different albums. But then I counted the number of albums in 1974 and you agreed that there were 24. So why is it that you can’t seem to calculate this?”

AI then went into a rather pathetic defense of its own ineptitude. “Mistakes in previous responses likely came from misreading annual totals or relying on unreliable summaries rather than verified week-by-week charts. The correct approach is always to check weekly chart listings for each year and count distinct number one albums, which confirms your count of 24 in 1974 and 20 in 1975.”

Okay. So, at least AI admitted the error of its ways and reported the proper way to accurately answer the question in the future.  All good, right?

Um…no.

Me: “Is it possible that you can answer the question correctly this time? What year from 1965 to 2000 has the most distinct number one albums?

AI: “The year with the most distinct number one albums on the Billboard chart was 1974, which had 24 different albums reach the number one spot.”

Here’s where things get ridiculous.

Me: “Is this actually correct or am I going to prove you wrong again?”

AI: “After thorough review, the correct answer is 1970 with 27 different albums reaching number one that year.”

Ahhhh! Does anyone else see the insanity of relying on this technology? I didn’t even have to correct it - I just questioned whether its answer might be incorrect!

I then turned to 1970 in my book, and it only made matters worse.

Me: “Once again, you’re incorrect. There were only 12 different titles in 1970 that reached number one.”

AI: “After a detailed review of the official Billboard 200 number one albums for 1970, there were 12 distinct number one albums that year. 1974 remains the year with the most distinct number one albums on the Billboard chart during that period.”

Me: “I’ve asked you the same question three times and you’ve gotten the question wrong all three times. It took me 2 minutes to confirm that you were incorrect. Don’t you think that’s an issue?”

Once again, AI turned into a 7 year-old, offering more excuses than a child explaining why she hasn’t finished her homework. It was so pathetic, I almost felt sorry for it. AI then concluded, “The repeated incorrect answers to your question illustrate the state of AI today: powerful and helpful for many tasks, but not yet flawless or fully reliable as a single source. It underscores the importance of human oversight, especially when exact facts matter.”

Excuse me. Exact facts should be the easiest answers for AI to come up with, no? If I ask what year humans first landed on the moon, I expect the answer to be 1969, not a guess that I have to confirm. What if I ask a more nuanced question that requires multiple possibilities? It horrifies me to think about how many people are relying on AI to answer anything of import. Maybe it will do better in the future, but I have serious doubts.

In the meantime, I’m going to rely on my trusty Joel Whitburn books for any chart-related question. Or, maybe I’ll just follow AI’s example: make shit up!

The ALCS and NLCS couldn’t have been more different: the former was a 7-game, back and forth affair between two teams playing at a high level, with alternating stellar pitching and offensive punch; the NLCS was a 4-game snoozefest, with the Brewers breaking records for the worst batting average and OPS in playoff history for a series of more than 3 games. They scored a whopping four runs in four games. Only game 4 provided fans with an indelible memory, as the world’s greatest player had arguably the greatest playoff game in history.

I didn’t see it.

I was traveling in New York, and when I peaked at my phone and saw that the Crew was already down 4-0, I decided to go to bed, prepared to wake up to the realization that Milwaukee’s season was over.

The next day my mom and I drove two and a half hours to Cooperstown to see the Baseball Hall of Fame, one of my favorite places on the planet. When I handed the attendant my tickets, he noticed the Brewers hat on my head and commented, “Man, how about Ohtani?” I sheepishly admitted I hadn’t watched the game. “Three home runs! And 6 innings pitched with 10 strikeouts.”

Wow!

I’m glad I missed it. I’m reminded of a Brewers-Twins matchup I attended in Minneapolis in 1994, when Twins pitcher Scott Erickson cruised through 8 2/3rds innings of no-hit ball. I found myself surrounded by Brewers fans who were actually cheering for the guy to finish the job. Hell no! Greg Vaughn was at the plate and I was praying – PRAYING – for a home run to not only ruin the no-hitter, but to kill the shutout and complete game as well. I didn’t get my wish, and I was pissed. I don’t mind watching history, as long as it’s not against my team.

Anyhow, all of this begs the question: is it better to lose a hard-fought battle in heartbreaking fashion like Seattle, or to lose in such an anemic fashion like Milwaukee? I mentioned a few weeks ago that I’ve been to two deciding playoff games in which the Brewers lost. It wasn’t fun, but at least the series provided moments of joy. This year’s NLCS against the Dodgers provided nothing for Brewers fans to hang their hats on. It wasn’t any fun. To go from winning a deciding game against the Cubs on Saturday to being eliminated by the following Friday….that’s a different sort of heartbreak.

Seattle fans, the three-run home run in the 7th was a brutal way to lose. Brutal. But try to embrace the season, the amazing 15-inning victory to clinch the ALDS, and the terrific battle against the Blue Jays. You had a hell of run.

So did the Brewers, until they didn’t.

I guess any way you lose, you end up in the same place.

Want to shoot the shit with a friend? Crack open a beer. Want to watch the Packers game? Crack open a beer. Want to find something to do in an unfamiliar city? Find a microbrewery. Want some attire that announces something to the world? Get a t-shirt from said brewery. Want a funny magnet, coaster or birthday card? Something having to do with beer would be a good call, especially one involving Homer Simpson.

I’ve been to a fantastic Chicagoland barbecue that employed a cicerone – the beer equivalent of a sommelier – to pair malt beverages with pulled pork or burnt ends. I’ve had friends who’ve introduced me to weird-ass flavored beers with marshmallow or cotton candy or pistachio overtones. I’ve learned the differences between porters and stouts, lagers and pilsners, and IPAs and American pale ales. I’ve even tried brewing my own beer with mixed results.

I’ve met new friends while drinking beer and a few girlfriends, though not for over 30 years. I’ve sang loudly to Jimmy Buffet and Buster Poindexter songs while consuming beer. I’ve written a few songs about drinking beer. I blew an opportunity to catch a home run hit by Eric Thames because I had a scorecard in one hand and a full beer in the other. I’ve had spirited debates over a beer, a few nasty arguments, and even one fistfight (I didn’t start it, and my participation wasn’t consequential, but I did take a punch and throw one of my own).

I went from spending $23 for a half barrel of Old Milwaukee to $12 for a case of Rolling Rock to $20 for a 12-pack of Dale’s Pale Ale. The amount of time, energy and money I’ve devoted to beer for close to four decades is staggering. I’ve fortunately never been a “drink-a-six-pack-a-day” kind of guy, but I still shudder to think about how much of my home could be filled with all the beer I’ve consumed in my lifetime, and I shake my head when I consider how much money I’ve spent on beer over the decades.

But no more.

Six months ago I had a gout flare-up – the kind of flare-up that puts the fear of God into you, that kills any thoughts of the future, because, well, if the future consists of this piercing pain, then it might be better to call it a day. Fortunately, I live in 2025, and four different medications helped to relieve me of the worst symptoms, and another has allowed me to slowly but surely return to modified normalcy. Modified, because I no longer drink beer, and I’ve refrained from red meat and most seafood since last April as well.

In hindsight, last April’s flareup wasn’t my first bout with gout. I’d been having a few mini flareups a year from as far back as 2019, when my toe pain was originally misdiagnosed by a surgery-happy podiatrist. And because neither of my parents had properly shared their health history with me, I didn’t know what gout was and that I should be on the lookout for its symptoms. Now I know.

So for now, beer is no longer on the menu. Last month I invited neighbors to come to my basement and consume what remained of my beer supply and take leftovers home. For a few months I didn’t really drink any alcohol at all, and I lost over ten pounds from my lanky frame that can ill-afford to lose any more mass. For the past few months, I’ve experimented with drinking gin, bourbon and an occasional wine, and this seems to be a recipe for success if I want to indulge a bit.

But now when I go to a backyard barbecue, I’m drinking a water or Diet Coke. When I meet friends at a brewery, I’m ordering a mocktail. And when my kids buy me a birthday or Father’s Day present, they’re going to have to dig a little deeper than buying a six-pack at the grocery store.

So I haven’t exactly gotten my wish, but man, there’s something satisfying about the Brewers winning the NL Central in 2024 and 2025, with the Cubs not even making the playoffs last year and having to beat the Padres in 3 games this week to advance. I mean, that SHOULD NOT be happening. The Brewers have no business winning the division, much less having the best record in baseball. That’s something I never thought I’d see.

Wanna know something else I never thought I’d see? A World Series title for the Milwaukee Brewers. And I fear that will remain to be the case this year. We might not even see an NLCS appearance, not because they’re not a good team, but because they’re very young and their pitching has been absolutely decimated. From having a surplus of starting pitching just a few months ago, they are now down to two starters in Freddie Peralta and Quinn Priester, and their bullpen has taken a hit as well.

But that won’t stop me from hoping. I’ve got tickets to game 5 on October 11, and I’m praying that somehow the Crew can win it in three or four and spare me the stress of another deciding game. I was in attendance when the Brewers lost to the Mets last year in game 3, and I was in attendance when they lost to the Dodgers in game 7 of the 2018 NLCS. I know that feeling, and I could do without it.

So here’s hoping. It’s been an absolutely thrilling season - one that had me wishing I lived back in my home town instead of commiserating with Cubs fans (there really aren’t any White Sox fans at present) - and it’s been so much fun watching a bunch of young guys with no expectations other than playing good, sound baseball. That this translated into winning streaks of eight, eleven and fourteen games wasn’t something anyone could have imagined.

But sometimes what we imagine is dwarfed by what’s possible. Maybe they’ll surprise us again.

My mom wrote to me after learning about his death: “All of the great ones are gone.” I don’t subscribe to that view, but I understand that if you’re in your 80s and have seen Gregory Peck, Jimmy Stewart, Cary Grant and Paul Newman come and go, you might be inclined to think that the best is behind us.

It was my mother who introduced me to Redford, the actor, through movies like Butch Cassidy and the Sundance Kid and The Sting, but it was Redford, the director, who may have made the biggest impact on me. After my parents split up in ’79, my mother took me to films that she thought would shed a light on grown-up topics, including divorce and general family discord. There was The China Syndrome, then Kramer vs. Kramer, and then Redford’s Oscar-winning Ordinary People. These latter two movies were interesting choices, because the mothers aren’t portrayed in a particularly positive light, and goodness knows my mother blamed my father for their marriage’s demise. But these films dramatized troubled families and the subsequent fallout on the children, and that may have been the point: to see that others experienced difficulties similar to my own, and in the case of Ordinary People – far worse.

I grew to watch other Redford-directed films like The Milagro Beanfield War and Quiz Show, and filled in some of the gaps from his acting career, like The Electric Horseman, All the President’s Men and Barefoot in the Park.

But it’s The Natural I love the most. Hell, Randy Newman’s score alone does it for me.

Gene Siskel placed The Natural at number 10 in his list of favorite films of the year, saying, “I loved every corny bit of it.”  Ebert wasn’t so kind, giving it 2 stars, and writing, “Why did a perfectly good story, filled with interesting people, have to be made into one man’s ascension to the godlike, especially when no effort is made to give that ascension meaning?” He’s not wrong. The movie is flawed. It’s cheesy. It’s shallow. It’s a fable, pure and simple. But, like Siskel, I loved every corny bit of it.

And now I can say that I loved every corny bit of it while Redford was breathing his last.

All of the great ones are not gone. But we lost another one this week.

I can’t overstate how important this band was to the young version of me, insecure and creative, the youngest child of separated parents. Hodgson’s lyrics were the empathetic voice I craved, though I can’t say for sure that I understood them all at the time. Listening to Supertramp nearly forty years on, the band’s output still holds up. I’ve always loved the juxtaposition of Davies’s and Hodgson’s respective oeuvres, one cynical and cranky, one spiritual and nurturing, and together they were greater than the sum of their parts. 

Rick Davies died a few days ago, and as important as some of Hodgson’s lyrics were to me as a youth, it was Davies’s piano skills that attracted much of my attention, as I moved beyond the Michael Aaron piano books I’d been trudging through for years and started to explore playing songs that I loved. When I was twelve, I purchased the manuscript book of Crime of the Century, and I studied those songs with curiosity, amazement and confusion, unable to play some of the licks to my satisfaction. Easiest among the lot was the title track, and for a brief period I played the song in the living room of classmates Jon and Scott Witkopf, who added drums and guitar to the mix. It was my first foray into playing with a group, and it jumpstarted my excitement to be in a band as I dreamed of music stardom.  

My brother soon encouraged me to learn “Another Man’s Woman,” a piano tour-de-force that begins with a terrific percussive groove and culminates with an equally terrific solo, and I managed to do a fair job of replicating it by ear rather than a manuscript. Soon to follow were songs like “Asylum,” “Just Another Nervous Wreck,” and “From Now On.” This band was inspiring!

But for any pianist, it was “Bloody Well Right” that set the standard, with Davies’s extended blues-based Wurlizer solo instantly recognizable. I must say that I fumbled through it as a child, only kinda-sorta achieving the spirit of the solo if not the actual notes. It wasn’t until I was in my 30s that I finally sat down and transcribed the solo note for note, slowing the tune down to identify some of the faster runs, and even today it’s an intro that I break out from time to time.

Beyond the obvious piano chops of Rick Davies, his sonically-edged compositions helped to compensate for Hodgson’s sweeter side. Davies basically played Lennon to Hodgson’s McCartney, or Amy Ray to Emily Saliers of Indigo Girls, offering a bit of cynicism and realism to the philosophical Hodgson. I thought that Davies really hit his stride on Breakfast in America and Famous Last Words…, the final Supertramp albums before Hodgson left the band. I loved songs like “Gone Hollywood,” “Oh Darling,” “Just Another Nervous Wreck,” “Put on Your Old Brown Shoes,” and “Waiting So Long.” They may not have been hits, but they helped elevate the Supertramp releases into satisfying listening experiences, making them “complete” albums, and not just some filler songs amongst a few of Hodgson’s hits.

I got to see Rick Davies twice: once at Alpine Valley in 1983, and then two years later at MECCA in Milwaukee. For the latter show, I was excited that Davies would have more of a chance to shine as the only songwriter left in the band. Unfortunately, the setlist was lacking, as was Davies’ ability to hold an audience. It was decent, but it was clear that Supertramp missed Hodgson. Unfortunately, they would never play together again.

It was just two weeks ago that Hodgson lost a publishing royalty appeal between him and the rest of the band. A sad way to end the legacy of a great band.

People can be cruel. People can be dumb. The world is run by cruel and dumb people, for crying out loud. But I’d also like us to give people a little more leeway than what is often offered on social media, podcasts and YouTube. Lord knows that if I were held accountable for all the stupid shit I spouted as a 22-year-old, I’d be banned from all sorts of businesses, websites and homes – including my own! I’m wiser today, I’ve smoothed out some of the rough edges, and I try not to utter every stupid thought that pops into my brain.

As we look around the world today, on the news or on internet comments or social media, we’ll witness words and actions that exemplify the worst of humanity. If we look a little harder, we’ll also see words and actions that exemplify the best of humanity. It’s so easy to observe the worst in someone and use it to summarize their entire being. One false action, one slipup of a remark, one viewpoint that doesn’t correspond to our own, and WHAMMO! You’re now an asshole. A pariah. A “them.”

This isn’t the best way to go through life, for it too easily distills a complex human being into a one-word pejorative. I’ve had discussions with my children about this. There is a celebrity who’s done some amazing things but who’s also made some remarks that my children don’t agree with. This celebrity is now banished from their lives, relegated to the island of assholes who aren’t worth their time, which is unfortunate, because it doesn’t address the full human being; it cherry picks the one thing that they find abhorrent and ignores all the good they’ve done.

People are gray, sometimes impressing us with their words and actions, and sometimes letting us down. Goodness knows that I don’t always live up to my highest ideals. There are a multitude of words and actions from my past that I wish I could take back, but it would also be wrong for someone to take a few of those words and actions and make a blanket statement about who I am as a person. I am more than my missteps. I’m also more than a guy who holds a different viewpoint that you do about a particular subject. It’s OKAY to have an opinion that doesn’t align with yours.

People are numbskulls. People are geniuses.
People are despicable and amazing.
They’re pathetic and inspiring.
They’re disappointing and promising.
They’re mean-spirited and kind, cowardly and brave.
People are dishonorable and commendable, capricious and steadfast,
stingy and generous, hypocritical and trustworthy.
They’re hateful and loving. Weak and strong. Lazy and indefatigable.
They are painfully serious and side-splittingly funny,
They’re boring as hell and engrossing.
They are black and white and red and orange and yellow and brown and…
GRAY.

Let’s try to refrain from painting a broad brushstroke about someone’s entire being based on one or two things that we don’t appreciate. Okay?

One of Joel’s attributes that the documentary spends less time on is his expertise at wordsmithing. At his best, his ability to perfectly capture a character, a feeling, or a situation, is second-to-none. Listen again to songs like “Always a Woman,” “I’ve Loved These Days,” “Goodnight Saigon” and “Innocent Man,” and you might conclude that he’s achieving something far beyond composing catchy hooks.

For me, I can’t think of Billy Joel without recalling a lesser-known tune that he co-wrote with Cyndi Lauper, “Code of Silence,” from 1986’s The Bridge, one of the last vinyl records I purchased before switching over to CDs. It was a letter from a friend of mine that prompted me to examine the lyrics of this song with more attention than I was accustomed to, a letter I still have today. In it, my friend alludes to a past event in her life and how it impacted her, and then goes on to write out the entire lyric of “Code of Silence,” adding that the song describes her “to a ‘T’.”

This revelation hit me hard then, and it’s clearly continued to hit my hard over time, because it led to my composition, “The Diary You Keep,” from my album Trainsongs, and it also inspired an important character in my unpublished novel, Things I Hate About My Mother. I can’t hear “Code of Silence” without thinking of her. She had clearly experienced some sort of trauma, and I don’t need to work too hard to imagine what it might have been.

The lyrics of “Code of Silence” are effective because they express the victim’s point of view so well:

You’ve been through it once
You know how it ends
You don’t see the point of going through it again

And you can’t talk about it
Because you’re following a code of silence
You’re never gonna lose the anger
You just deal with it a different way
And you can’t talk about it
And isn’t that a kind of madness
To be living by a code of silence
When you’ve really got a lot to say?

And later in the tune:

And it’s hard to believe after all these years
That it still gives you pain and it still brings tears
And you feel like a fool, ‘cause in spite all your rules
You’ve got a memory

Joel gives most of the credit to Lauper, who happened to be recording her True Colors album next door to Joel, resulting in the collaboration. In an interview, Joel said “She did all the work.” Regardless of who contributed the lion’s share of the tune, as far as I’m concerned, the Joel-Lauper pairing was a match made in heaven, and I wonder what might have transpired had they committed to composing more songs together.

I’m a melody guy, first and foremost, with lyrics often falling a distant second. But man, when melody and lyrics are coupled together perfectly, it packs a punch. Give it a listen and see if it hits you the same way.

And to my old friend, wherever you might be, I hope you’re well, and I hope you’ve been able to crack the code.

I don’t usually rely on podcasts to (re)discover great guitar pop artists and songs from the past, but 1,000 Greatest Misses is definitely an exception.

This is largely due to the unique format that co-hosts Christopher Grey and Paul Heinz set up in 2023. Most episodes start with banter between the two music obsessives who then play samples from five different tracks that “hit all the marks but failed to chart” while discussing their personal perspectives and opinions.

“I will take credit for the idea, 8 years before I found the right person to partner with to bring it to fruition. My partner Paul Heinz and associate producer Bob Blum get credit for everything else,” Grey told me for the interview below.

“I do love turning people on to songs that have had an impact on me. I’m always texting Spotify or Youtube links to friends, saying, ‘Have you heard this yet?’ The podcast just allows me to reach thousands (okay, not exactly thousands) of people all at once, every week.”

“Chris has so much knowledge about the minutia of obscure bands, producers, record labels, and the like,” Heinz agreed.

“I’m definitely the novice on this journey, but I was able to tackle some of the legwork necessary to take his idea to the finish line. Then Bob came in and helped with some of the more grueling aspects of preparing for a weekly podcast. When you’re just starting out, you kind of underestimate the number of hours it takes to record a good half an hour episode.”

I caught up with Grey and Heinz by email to thank them for having me on as a guest (please don’t hold that against them), talk about how the show has evolved from their original vision, and what their plans are once they hit 1,000 songs.

I'm a big fan of your podcast, so it was an honor to be a guest. I think the format is really interesting. How did you land on that formula?

Christopher Grey: I was a guest on a couple of episodes of the Rock and/or Roll podcast with BJ Kramp. We had a ball, and he indulged my desire to talk about all these killer obscure tracks pulled from early ‘80s radio station compilation records. My initial premise was to keep the podcast short—5 songs per episode and put an expiration date on it. Hence the 1000 greatest misses, 200 episodes and out.

The better question is what kind of blackmail evidence did I have on Paul and Bob to get them to agree to work with me?

Paul Heinz: It certainly wasn’t the cash!

What have you learned over the course of 100+ episodes?

Christopher Grey: That it’s really hard to grow an audience when your subject matter is as specific as ours. For the amount of time I’ve spent adding links to Facebook posts, setting up guests and generally spreading the 1KGM gospel, we should have tens of thousands of listeners. Spoiler alert: We don't. But I will say that the folks that listen understand us and have proven to be as big or bigger fans than we are! They are so knowledgeable and hearing from them makes my day every time.

Paul Heinz: And we’ve also heard from quite a few of the artists we’ve featured, which isn’t something we expected. As for as listenership goes, when you consider the number of options for people to spend their time on these days, the fact that we have a crew of loyal listeners is really gratifying.

You occasionally have guests on (I loved the Peter Jesperson and Ted Ansani episodes). Any temptation to turn this into an interview podcast?

Christopher Grey: In my head, it’s certainly a lot more work to coordinate a show with guests. Of course, I understand that fans want to hear from artists and music industry figures, but there are so many podcasts that are better funded, researched, and that do such a great job in that space. The highest compliment I’ve gotten is that listeners feel like they are having a conversation with us. I think that was the original vibe we were going for.

Paul Heinz: I’ve had listeners tell me that they’re more interested in the banter between Chris and me than the songs themselves. Go figure.

Who is somebody that both of you agree would be the ultimate 1000 Greatest Misses guest (and why is it Paul Westerberg)?

Christopher Grey: I think Paul Westerberg represents a common ground for Paul and me. As our listeners know, Paul doesn’t always care for the songs that I bring to the table. In fact, his quote, "I wish it was better," is bandied around like a line from Caddyshack in our small community.

Paul Heinz: We even thought about putting that quote on the back of our t-shirts!

Christopher Grey: I would love to talk to Roger Manning or Jason Falkner as a fan, but I could see us featuring some hardcore record collectors that specialize in our favorite genres as well. Listeners of the show have proven to be extremely entertaining. Maybe we could get a power pop version of the Wack Pack of our most devoted listeners: Sharon, Jared, Andy, Pete, and Kevin!

Paul Heinz: I’ve never even heard of 80% of the bands we feature, so when we have guests on, I really have to do my homework. I know a bit about The Replacements, but having Paul Westerberg as a guest would be terrifying.

What are a few favorite artists or tracks that you specifically discovered through the podcast?

Christopher Grey: The list is long and varied. The High Back Chairs, Softjaw, Company of Thieves, The Argyles, Comsat Angels, SVT, Death Cab for Cutie (yep, I have blind spots), Graduate, The Shake Shakes.

Paul Heinz: Mine includes The Keys, The Planets, Falcon Eddy, Billy Bremner, The Cretones, The Toms, Enuff Z’nuff, Bash and Pop, Glen Burtnick and Paul Warren.

What's next for you two and 1,000 Greatest Misses?

Christopher Grey: We just recorded episode 111, (special thanks to Steve Coulter…aka S.W. Lauden!) and that leaves us with 89 more to go to satisfy the original intent of 200 episodes. We took a hiatus a few months back and retooled the show a little, and since then I’m enjoying it more than ever. Maybe there will be 1000 More Greatest Misses, maybe we will come up with a new concept, or maybe Paul will realize that I am dead weight and kick me to the curb and replace me with someone younger and better looking. Oh wait, that might be my wife's plan.

Paul Heinz: Nope. That’s my plan, too.

In most stores, records are stored in a certain way:

1)      The records themselves are front-facing for ease of flipping.

2)      They are housed in plastic outer sleeves whose open ends are pointed towards the album cover openings (apparently called a “cover mouth.” I just learned something!).

3)      The inner sleeves that house the record itself are also pointed toward the cover mouth, allowing would-be buyers to extract the vinyl record without any unnecessary steps.

Some albums don’t play nice with this storage – Elton John’s Honky Chateau comes to mind – but for most part, this type of format works well, and as a guy who buys a fair number of records each year, I’ve grown accustomed to this protocol.

But more and more lately, I’ve had the misfortune of perusing used records that are housed in resealable sleeves, the kind that fold over and adhere like a Post-It note, leaving the album cover completely encased – even the opening that houses the inner sleeve and record. This obviously makes checking the record quality tedious, because I have to peel back the sticky fold of the outer sleeve to extract the record, and if I’m thumbing through a couple hundred items, it makes for a cumbersome visit and an unhappy camper.

Some stores go to even greater lengths to spoil my record-buying outing, turning a potential customer into a sworn enemy. Outside of Phoenix, one particular establishment (who shall remain nameless) turns a record quality check into about a minute-long ordeal on the front end, and then another minute-long ordeal on the back end. To wit:

1)      The records are stored in resealable sleeves. My happy disposition is already marred.

2)      These resealable sleeves are pointed north so that the “cover mouth” isn’t exposed even after opening the outer sleeve. Because of this, the album cover has to be completely extracted from the outer sleeve.  Now I’m starting to mutter a few obscenities.

3)      This store takes things a step further: the inner sleeve is also pointing north, meaning I can’t take out the vinyl without first slipping the entire inner sleeve out of the record cover. By this point I’m giving the stink eye to the poor clerk at the cash register, and she probably has nothing to do with this madness!

4)      Once the record is freed from this insanity, I hold it between my hands and tilt it from side to side. And wouldn’t you know it? This particular copy of Working Class Dog by Rick Springfield is marked up beyond any reasonable collector’s threshold, and by this point I’m fuming, because…

5)      I now have to reverse the process to put the album back the way I found it!

I certainly wasn’t going to go through this procedure again and again. I walked out empty-handed and spent my money elsewhere.

I’ve been told by my friend and podcast partner Chris that if a store is going to use resealable sleeves, an accurate grade of the record should be marked on a sticker so that the buyer knows what he or she is getting. But even then I’m skeptical, because I want to see what I’m buying, and not every grading system is consistent.

Sure, if you own a record store and have a mint copy of Prince’s Black Album, go ahead – put it inside a resealable sleeve. In fact, put it in a safe and just display a photo of the record for interested parties! But for most merchandise in the $10 to $250 range, please do us all a favor and stick to the protocols that make record-buying a joyful experience.

Jaouad has a new book called The Book of Alchemy: A Creative Practice for an Inspired Life, which includes contributions from several musicians, writers, activists and actors. I haven’t yet read the book, but I was taken with something that Jaouad said recently on The Late Show with Stephen Colbert as part of her promotional tour. After being diagnosed with her third bout of leukemia last year, her doctor advised her to live every day as if it were her last, a common refrain when someone is faced with a terrible illness.

The trouble, Jaouad claims, is that it’s terrible advice.

I encourage you to watch the clip, but Jaouad explains, “It is exhausting to try to make every family dinner as meaningful as possible and to carpe diem the crap out of every moment.”

So what’s a better way to look at life when faced with a deadly illness, or a way to look at life in general?

She goes on, “Instead I’ve had to shift to a gentler mindset, and I am trying to live every day as if it’s my first. To wake up with that sense of pure uninhibited creative freedom, that sense of wonder and curiosity that a little kid might.”

We would all do well to apply Jaouad’s advice, and we certainly needn’t be faced with cancer to do so.

By some stroke of luck, a few days before seeing the above video clip, I attended a lecture at Elmhurst University, during which Rabbi Steven Bob celebrated the life and teachings of Rabbi Abraham Joshua Heschel, a prominent theologian and author in the 20th century. In Heschel’s 1951 book, Man Is Not Alone: A Philosophy of Religion, he discusses a concept that aligns very much with Jaouad’s: radical amazement. It’s this concept that Rabbi Bob highlighted in his lecture.  

Heschel writes, “Human beings must stand in radical amazement that they exist at all…to be so in awe of every aspect of the world and its creator that one cannot help but do one’s part to make it the best it can be.”

Upon learning Heschel’s phrase and – just a few days later – having it reinforced by Jaouad (in spirit, if not in exact words), this idea of radical amazement has been foremost on my mind. I’ve caught myself several times a day actively being in awe of something that might otherwise be categorized as mundane. A flower. The sky. My wife’s smile. A warm bed. A heartfelt laugh. A hardy meal. My body’s movements. There is no shortage of things to be inspired by, and tapping into the beauty of the mundane is a large part of what attracted me to Judaism in the first place, as it’s largely a religion of elevating what might be considered normal everyday activities into something more, something spiritual, something meaningful.

Of course, one doesn’t have to be Jewish or Christian or Muslim or Buddhist or anything else to consider the philosophy of radical amazement. One just needs to be human. There are loads of wonderful articles and videos online to spur you on your journey to embracing the wonder of life. I’m going to dig deeper into this concept, and I suspect that starting with the books of Heschel and Jaouad might be great places to start. If you find another great source, let me know. Good luck with your journey.