Christmas is the time of year when families attempt new cookie recipes and rely on the same traditional recipes. Recipes that have been passed down through the generations are extra special, especially as they represent ethnic backgrounds and history.
My paternal grandmother was Italian, with her eldest sister traveling on a boat to America with my great-grandmother. One of Grandma Helen’s classic Christmas cookie recipes is a small, donut-like cookie made from fried dough.
Nagatolli cookies aren’t too sweet, and they pair well with hot beverages. So, if you’re looking for a semi-healthy (and dog-safe) cookie, Nagatollis may be for you!
Grandma’s recipe is below! ⬇️
Ingredients
Please note that you can also use a pot with vegetable oil or canola oil instead of a deep fryer.
Instructions
Mixing up the dough is pretty straightforward (see below). The amount of oil in the egg-shells can be substituted for an actual measurement, but we don’t talk about math on Confessions of a Classic Soul!
You may need to get your hands dirty to form the dough. You can add more than five cups of flour if your dough feels too wet. However, beware of making the dough too “flour-y.” In this case, you add a tad more sugar and vanilla.
Once your dough is ready, set up your preferred method of frying the dough. My family has a small deep fryer that plugs into an outlet. Although I have never tried an air fryer, I see no reason why it shouldn’t produce similar results. Alternatively, you can simply put oil in a saucepan, boil it, and dip your dough rings in until fried.
Okay, dough rings. Form about 1-inch (or larger) rings with your dough. My dad and I have a process where he makes the rings and sets them aside on a plate or cutting board for me to fry.
When frying the cookies, take a metal spoon or spatula and set the dough rings on it. Place the dough in the boiling oil and leave them there until the dough turns golden. Try to balance the color. In other words, don’t leave the cookies too doughy or too golden (aka overfried and quite crunchy).
Normally we don’t add anything else to the cookies once they’re fried. If you’d like to add powdered sugar or any other garnish, go for it!
Let me know in the comments how your Nagatollis turned out, or if you have any questions!
If curiosity killed the cat, then know it hasn’t always helped humans, either. When was the last time you peeked out your window to spy on your neighbor or to see what’s happening on the street below?
Don’t worry, the inclination to be nosy is innate. Face it, we wouldn’t make scientific advancements or new products without it! In 1986, Robbie Nevil, on his debut album, wrote and sang a fun, fantastic song called “Neighbors.” This track celebrates that habit of knowing and gossiping about neighbors.
Robbie Nevil’s career as a recording artist may have went partly unnoticed in the ’80s, except for the top-ten tracks “C’est La Vie” and “Wot’s It To Ya,” but his short time as an indie singer/songwriter is legendary. Nevil, who continues his prolific songwriting career today, although seemingly out of the spotlight, is one of those rare ’80s gems. In analyzing Nevil’s synthesized-pop/part-rock groovy sound, I can’t help but identify his smooth vocals as an unexpected blend of George Michael, Richard Marx, Kenny Loggins, and, perhaps, even Prince. This insane, but addictive, mix allows both of Nevil’s solo albums to speak for themselves as lost ’80s treasures!
“Neighbors”
I like the bounce to the guitar introduction. It teases the idea that this song may not be fully serious. Like other songs off the debut album, the light-heartedness shines through, especially during the first few measures.
Personally, I imagine a big apartment building when I visualize this song. Throughout, we the listeners are introduced to a wild range of characters, and the quick rate at which we are introduced does in fact mirror the busy comings and goings of an apartment building. Heck, this even reminds me of college dorm life!
Right away, the characters are eccentric. Katy is living it up in her own apartment. George is a bookie, and the person upstairs is the health nut. Each of these characters’ quirks show how varied individuals truly are. You never know who you could be living by! Even if these characters are purely fictional, Nevil has described them in familiar ways. Listeners have no reason not to believe him. Many of us can point out the health nut in our own lives (well, I’m still thinking on that one!). These people feel like our own neighbors!
Revisiting Nevil’s vocals again, I can’t help but point out how the notes change depending on the words. Some lyrics are more intense than others. Some have higher pitches. For example, did you notice the intonation on “fruit”? This little detail added to the negative connotation of the person upstairs as a crazy health nut. Just amazing!
“Faces are storybooks”? This line sounds a bit odd at first, but, as the song continues, it makes more sense. Everyone has a story to tell, a mystery for others to unravel. We each have our own upbringings and personalities. Each of us is a storybook!
The second verse introduces another set of eccentric characters, even Mrs. Jones, who’s never been seen. Um….is Mrs. Jones even her name? Can we know for sure? Rumors, gossip, and soap opera-like plots whisk in and out as Nevil provides a quick rundown of his neighbors. The reference to Sarge, the ex-marine, is a wonderful tribute, since most people can pinpoint that one person who has served in the U.S. military. American pride is still at the heart of this odd neighborhood!
Tones shift throughout the song. Sometimes Nevil presents prideful vibes, irritated vibes, uncertain vibes, and comical vibes. Then again, these feelings are relatable. Don’t you get irritated with your neighbors? I particularly like the lines: “Some are you, / some are me.” The ordinary experience of being a neighbor who lives around other neighbors is captured so clearly and amusingly. When hearing this song, it is so hard NOT to smile!
So, the next time you peek your head behind the curtain to figure out what on earth your neighbor is doing, or to see how the accident at the intersection happened, you may want to have this song stuck in your head!
Before You Go…
Don’t forget to listen and subscribe to the Guilty Pleasures of a Classic Soul playlist, which compiles all songs featured on Monthly Mixtape! You can now listen on either YouTube or Spotify!
As this year’s round of holidays begin, many of us might be reminded that we can’t pick our families. True, we may not have the chance to choose who we eat Thanksgiving dinner with, but we can dream about what that dinner would look like if we could invite a mix of sitcom characters. Here is an amusing assortment of classic TV sitcom characters who would make for an interesting and quirky holiday. At least you wouldn’t be related to them at the end of the day!
Here is my list of sitcom characters who would make for a very amusing Thanksgiving dinner…
1. Thelma Harper
The turkey better be the only dead thing on the table!
Thelma Harper, aka “Mama” on the ’80s sitcom Mama’s Family is one bold ol’ granny. She can pack quite a punch with her comebacks and arguments. Although she’s one tough bird to have seated at your Thanksgiving table, she does know how to cook. Don’t touch her kitchen, and she can whip up a hearty meal. Give any attitude or nonsense, and she’ll sending you packing. Thelma is the perfect grandmother to set the crazy family members straight. Granted, she would be the type to throw the food during the drama. But, rest assured that she will stop any and ALL drama!
2. Alice
Is that…bread?
Okay, it never hurts to have more than one cook on Thanksgiving. While Mama Harper is the queen of her own kitchen, Alice has spent years cooking for the entire Brady family. Although I’m not a huge fan of The Brady Bunch, Alice is easily my favorite character because of her quick wit and easy-going temperament. She can bring the charm and the dessert, provided she can take it out of the oven on time after chasing around six kids. Alice is practical and realistic. She would be a hoot to have dinner with!
3. Carl and Harriet Winslow
As long as he doesn’t bring Urkel (which he won’t ), we’re good!
Ah, Carl. The patriarch of Family Matters never truly gets a rest as new problems always pop up in the large family. Even worse, neighbor Steve Urkel is always unintentionally causing mischief. As a cop and all-American dad, Carl deserves a sit-down Thanksgiving dinner. Out of all the guests, I’d choose Carl to carve the turkey at the head of the table! Harriet, of course, is lovely and could use a break from the cooking.
4. Lamont Sanford
Well…do you want to know the answer to that question?
Poor Lamont. He’s always caught in the middle of his father’s stubborn and dramatic ways. When he’s not arguing with or chasing around his father, Lamont does find time to go out with friends and go on dates. However, he’s the one who would be stuck cooking the entire Thanksgiving dinner! Lamont is pretty level-headed and polite, so there’s no reason for him not to come!
5. Gomez and Morticia
Okay, so their the weird aunt and uncle!
Yes, I thought long and hard about this pair. Is there any evidence that they don’t eat traditional Thanksgiving food? Surely they would be the oddest couple there, but they truly are considerate and quite hospitable, friendly, too. Your dinner conversations might be freaky and unusual, but you wouldn’t be bored. In fact, it could be a very intellectually stimulating conversation!
6. Ed and Trixie Norton
Remember, we want Ed on the left, not Ralph on the right!
Notice it’s not the Honeymooners Ralph and Alice Kramden, but their friends. Although Ralph does have a heart underneath his self-serving ways, we don’t want to risk any drama at this Thanksgiving table. Ed is a bit flighty, but he means well. He’s not the brightest, but he’ll be grateful for the meal…and quite chatty, too. Just imagine a conversation between him and Gomez! Ed would believe every word!
7. Howard and Bernadette Wolowitz
Okay, this last pair is modern, but Big Bang Theory would agree that Howard and Bernadette would be cool to have dinner with. Howard would make sarcastic jokes the whole time, but some of the other characters probably wouldn’t notice. Granted, Howard and Bernadette probably wouldn’t enjoy the meal too much, but their reactions would be worth seeing. Together, they are famous for their back-and-forth quips as a married couple, and the other couples at the table will surely relate to their banter. Plus, these two need a break from their two kids, and both Raj and Stuart would jump at a chance to babysit!
Is the Turkey Done Yet?
With a very diverse group of classic sitcom characters, what could possibly go wrong at Thanksgiving dinner? Well, we don’t actually want to know that answer. For now we’ll settle with daydreaming!
Wishing all my readers (and their families) a very happy and blessed Thanksgiving!
Frankenstein is…attractive? Dracula uses extra whitener before a date? While the monsters themselves may not be classified as true ladies’ men, a jazzy 1959 track tells the story of a girl who only gets her romance on during horror movies.
The 1950s music scene was ripe with infectious novelty songs, with the end of the decade as no exception. The Diamonds were known for their covers of currently famous hits, but one of their catchy grooves was not a cover: “Batman, Wolfman, Frankenstein, Or Dracula.” Sure, it’s a bit of a tongue-twister, but the title sparks questions and intrigue, especially the word “or.” Why isn’t it “and”?
Spooky season is in full swing, meaning this lost song by The Diamonds is a must-have on the Confessions of a Classic Soul Halloween party playlist!
What’s Monthly Mixtape? Each month on Confessions of a Classic Soul, Nicole reviews an underappreciated song from decades past. Her love for underrated songs, plus her literary analysis skills and music experience, allow her to find hidden gems within songs.
“Batman, Wolfman, Frankenstein, and Dracula”
Perhaps the best part of the song’s introduction is the resemblance to “The Blob” and “The Purple People Eater.” Although all three saxophone rhythms are not identical to each other, there is a playful bounce to each theme, despite the horror context. Each solo is uniquely impressive with the likes of higher ranges, trills, etc. The saxophone on this track implies that the subject matter will not be totally serious.
Dave Somerville, the lead singer of the Diamonds, has a signature baritone voice that does not go unnoticed on this single. In fact, his timbre (aka “color” of his voice) adds to the romance he’s craving and the way he tries to lure in his date.
1950’s culture is heavily at play with the “movie show” setting, as theaters, especially drive-ins, became increasingly popular at this time. Going to catch a movie show was typical for teenage couples on dates, and this couple represents the culture!
However, the girl ranks high above standards when it comes to romance! Clearly she likes anything creepy and scary, and these films are the key to winning her heart. Before analyzing this relationship further, several words must be discussed: the chorus.
“It takes the Batman, Wolfman, Frankenstein or Dracula / To put her in the mood for love
It takes the Cat Girl, Dog Boy, Creature from the Black Lagoon / To make her feel like making love”
Songwriter: Roy Alfred
“The” Batman? Is that, you know, “I’m Batman” Batman? Or is this just a man who is a bat? Wolfman, Frankenstein, Dracula, and Creature from the Black Lagoon are of course four of the classic Universal horror movie monsters. Creepy and scary? You bet! If Batman and Cat Girl are indeed references to the DC comic and show, then fans can’t help but wonder how Batman is scary, unless only the villains should be showcased here. Nonetheless, the image of a deformed or costumed human can be frightening. Horror and suspense is enough to make this girl happy!
What about the “or”? This lyric suggests that the girl only needs one of these creatures to put her in the mood. What would happen if they were all in the same film?!
One misconception of this song from the first listen is that the girl only cozies up to Somerville because horror movies leave her fearful. On the contrary, she simply finds horror exciting! She is not a hopeless romantic and becomes interested when suspense is involved. The irony of the song adds to the playful tone, especially with the screams and saxophone riff in the background.
What makes this song truly stand out from its time is the reversal of gender roles. Instead of portraying this girl as vulnerable and in need of a man’s touch, she is bold and, dare we say, freaky. All that is known about this girl is her “quaint” sense of romance, yet this insight is so groundbreaking because she is not a quiet, submissive, or fragile young lady. For a song like this to come from the nuclear family culture of the ’50s is rare. It’s certainly a keeper!
Before You Go…
Don’t forget to follow the Guilty Pleasures of a Classic Soul playlist which includes all songs featured on Monthly Mixtape. You can now listen on either YouTube or Spotify!
The disco and rock-driven 1970s music scene also encompassed a rich variety of genres underneath the mainstream sound. Behind the disco ball were bright pop icons like ABBA and progressive rock legends like Rush. However, to uncover similarities between these two extreme sounds of the ’70s–one very light and synthesized, the other very heavy and intense–would leave fans of both supergroups scratching their heads.
But here at Confessions of a Classic Soul, the more unexpected, the better. I grew up with ABBA songs in the background, but I had never heard of Rush until high school (which was only a few years ago). My French teacher was a mega fan, but because I was fascinated with New Wave and lighter ’70s and ’80s essentials, she told me I wouldn’t like them. Well, fast-forward five or six years, and I’ve now begun sampling songs from Rush’s discography. Although I may not be an expert quite yet, I am still able to recognize and fall in love with the legendary Canadian rock group!
Because my new job is quite demanding and I unfortunately had to forgo an August Monthly Mixtape, this review features two songs whose lyrics collide in uncanny ways. ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)” and Rush’s “Something for Nothing” focus on desire and satisfaction. How those desires are to be quenched vary, with one song ultimately “giving” advice to the other.
What’s Monthly Mixtape? Each month on Confessions of a Classic Soul, Nicole reviews an underappreciated song from decades past. Her love for underrated songs, plus her literary analysis skills and music experience, allow her to find hidden gems within songs.
ABBA: “Gimme! Gimme! Gimme! (A Man After Midnight)”
ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)
Although this track is classified as disco, it does not quite match the Saturday Night Fever vibe. “Gimme! Gimme!” begins mysteriously, setting the dark and desperate mood in which Agnetha Fältskog’s vocals will soon echo. The upbeat synthesized runs not only mirror the wind that will pop up in the lyrics, but it also lends itself to an electrified sound.
Right away, the harmony on “half past twelve” adds to the intensity, and the fact that time in this song is already late. The loneliness and desire for a lover is already clear, and the specificity of “autumn” winds, as opposed to any other season, imply that the chill in the air is not unlike Agnetha’s despair. Winter winds would likely be harsh, but autumn winds show the beginning of decay as leaves fall. For Agnetha, hope may still linger.
The repetition of “Gimme!” further shows the desperation for love and the fear of cold loneliness. At the same time, the rising and falling of Agnetha’s notes in the chorus demonstrate how Agnetha’s tone fluctuates throughout the song. The despair is obvious, but at times she sounds slightly hopeful, other times melancholy.
Meanwhile, the second verse draws in the outside world, especially the culture Agnetha’s living in. She compares the love and success she sees on the screen to her own life. Her life of darkness and loneliness is not so cheerful as a movie star’s glamorous lifestyle. The desperation here takes a turn and separates fiction from reality. Outside of her window, Agnetha finds the natural and authentic, even if it’s not a promising view. The TV/movie success, especially in the romance department, isn’t always what it appears to be. If it is false, then Agnetha will surely find the rainbow at the end. This song also indirectly points out how TV can make viewers feel isolated with idealistic and unrealistic views. With nothing but a screen and a window, life is lonely.
The repeats of the chorus, along with the familiar instrumental runs, continue the intense desperation. Sadly, the song does not come full circle. It fades with the same loneliness as when it started. In an odd way, the music is so fascinating that the song could (and should) continue. Would the ending ever change?
Rush: “Something For Nothing”
Rush’s “Something For Nothing”; Disclaimer: if you attempt to read the lyrics in this video, you will hurt your eyes (been there, done that) 🙂
Rush found great success with their 1976 album 2112. Their song “Something For Nothing”, however, feels overlooked.
A gentle guitar opening paves the way for lead vocalist Geddy Lee to introduce the song with wind and clouds. Immediately a loneliness enters as success has been a long time coming. After “countless ways,” guitarist Alex Lifeson amps up the intensity, a warning of potential shattered dreams.
The second person view from this song creates a detachment from Lee and the listeners. Instead of lamenting about personal experiences, Lee is talking to listeners, even if it feels like he’s talking down to them. The warning here is that you can wait around for open doors, but you can’t just expect them to open magically.
The message of the song is pretty transparent: no matter where you want to go in life, hard work and effort are key ingredients. Knowledge, skills, and experiences grow with time, and you have to be part of the process 100% of the way. Well, we are talking Rush here, so make that 110%. The repetition of the chorus emphasizes the message, and the solos in between the repeat just go to show how important this message actually is.
Kingdom, glory, heads, anchors–what on earth is he talking about? It’s the same old message with the extra oompf (come on, did you expect anything less from Rush?). At the core, Lee proclaims that you only get out of something what you put in. There is a focus on the individual. What is it that you want to do? What is it that’ll you’ll own as a result? The strength and desire to become who you want is already in your head, as Lee explains, but you still need to go the mile. The mile doesn’t come to you.
Is this a kick@$$ motivational anthem? You bet!
The Advice
In looking at both songs, we find a desire and an endgoal. Agnetha desires love, while Lee points out the human desire to succeed and make something of one’s self.
Similar forces of nature appear in each song, notably wind and a rainbow’s end. In both, wind represents change, whether positive or negative. Success, whether it be love, career, or money, waits at the end of that rainbow, despite the cliché.
Rush focuses on the realities of life, while ABBA remains centered on finding a romantic relationship. Both songs capture the search for desire, but, with a realistic outlook on life, “Something For Nothing” could give advice for finding that “man after midnight.” For instance, if the singers of each band were indeed singing “at” the other, Lee would undoubtedly be telling Agnetha to go out and meet people instead of staying home alone with the depressing (and unrealistic) television set. Angetha could keep looking out her window and dreaming for that man, but how could she accomplish that dream if she never leaves home to search? She can’t get “something for nothing,” and certainly not “freedom.” She has to put in the effort in order to establish that “kingdom” and “glory.”
Is the Quest Complete, or What?
Yeah….not really. This conclusion, however, depends on the song. Listeners don’t receive a definite answer about Agnetha’s fate, so the outcome rests on imagination. On the other hand, Lee’s encouragement, thanks to his wild and awesome vocals, implies that the message will resonate, and listeners can bring dreams to fruition.
Desire is an intense human emotion, and how it is handled makes all the difference in the end results. So, will you get the man after midnight? Will you make any other dreams come true? If you follow Rush, you may achieve it all BEFORE midnight! Good luck!
Before You Go…
Don’t forget to follow the Guilty Pleasures of a Classic Soul playlist which includes all songs featured on Monthly Mixtape. You can now listen on either YouTube or Spotify!
Okay, Boomer critics, I’m here to tell you that nostalgia impacts people of all ages, not just older individuals. Because Confessions of a Classic Soul readers are old souls of various ages, nostalgia is an umbrella term, as no two individuals, even of the same age, experience nostalgia in an identical manner.
Why the craving to relive the past? Nostalgia is not simple and clear cut, so why should all forms of nostalgia be the same?
Ready to take a dive into the past?
Nostalgia, Who’s She?
According to Svetlana Boym in her book The Future of Nostalgia, the term “nostalgia” is derived from Greek, where “Nostos” refers to a return home and “algia” refers to a longing. In other words, nostalgia is a desire for a home that either no longer exists or never existed (XIII).
With this definition in mind, the common conception of “nostalgia” is not fully recognized. In modern times, we associate nostalgia with a longing for the past. A home is a place, an object, while the past is time. As a result, contemporary conceptions nostalgia are complex. After all, the doctors in the 17th century thought nostalgia could be cured (Boym XIV)!
Okay, now Boomers can enter the discussion. As today’s technology grows more and more innovative, older individuals naturally long to revisit their younger days when technology wasn’t so complicated. Grandparents may not understand why 5G is a huge deal, but they are eager to hand-write letters to friends because these messages feel more authentic. They want to stick to the simple, tried-and-true methods they have known all their life.
Nostalgia works in many forms in older adults. It should come as no surprise that humans hate change, even though they are inevitably creatures of change. At the end of the day, many individuals miss what they used to have. On one hand, individuals may long for their childhood homes, especially if they moved across the country or if an old home no longer physically exists. On the other hand, lifestyles and habits change over time as individuals mature and enter career transitions. For instance, the transition from college to the workforce can be incredibly difficult for new adults who aren’t used to working eight-hour weeks, including in the summer months. Friends aren’t physically as close as they used to be, so nostalgia pops up as a longing for old times. Therefore, nostalgia is dynamic and impacts all ages.
Kids with Older Parents
Parents are embarrassing, but parents can be cool, especially if they’re older. As an only child of older parents, I can confidently say that my upbringing leaves me longing to take a daytrip into the ’60s, ’70s, or ’80s. This type of nostalgia veers away from the idea of “reliving the past,” especially when that past was never truly lived through. It’s a longing for a time that one is simply not allowed to experience in it’s entirety–it’s a time that doesn’t “exist.” Sure, younger generations can don the classic rock t-shirts and bell-bottom pants, but they will never have to use a payphone everyday or enjoy streets lined with huge department stores.
On the flipside, children of older parents do experience the nostalgia of childhood like everyone else. When that childhood includes elements of past cultures, such as music, TV shows, décor, etc., adults will potentially miss those older cultures and long for them even more.
My own childhood fits into this nostalgia perfectly. I often tell the story of listening to my mom’s ’50s and ’60s Solid Gold Rock n’ Roll cassette tapes back when our old stereo’s cassette player worked properly. As a kid, I made up lyrics, created lipped-synched choreography routines, and had my own dolls and stuffed animals sing the bouncy tunes. Now that I’m older, the same music reminds me of those summers when I was carefree before my dad got sick with his paralysis and before I grew up to be a teacher.
What’s the catch here? Many children of older generations have old soul personalities, so nostalgia is embedded into their way of life.
Old Soul Wisdom
Old souls are known for having wisdom and giving the best advice; because old souls love the past, they tend to look to the past provide advice. History repeats itself, and old souls have a keen eye for remembering those events and details. Whether it’s bringing up what worked for other generations or simply repeating old adages that have withstood the test of time, old souls are logical thinkers who want to help better the world. Old souls are good listeners, but they’re also great advice-givers because they have empathy and nostalgia on their side!
Capturing the Past
Younger generations have a unspoken duty to hold onto the times of old. When parents and grandparents pass away, photo albums, recipes, and family heirlooms are all handed down to younger family members who then use and display these mementos in their own homes. Physical reminders of loved ones and the memories associated with them (think things like photographs and old furniture), live on through a nostalgic lens. The memories recalled by these items lead to a longing for memories to be relived and renewed. As a result, nostalgia paves the way for potential depression.
Then again, not all nostalgia is mournful. Many family members take on genealogical projects in order to preserve their family’s history and memories. Because old souls typically love to research and fulfill their curiosity cravings, family members with this personality are the best choice for heading these projects. After all, old souls love to dive deep into their passions. When they want information, they’ll find a way to locate the accurate research. For old souls, capturing the past and keeping it alive is a source of fuel for their identity.
We can never escape the nostalgia of our lives. Okay, that’s not the correct quote, but it goes to show that the sand will continue flowing through the hourglass, and to be nostalgic is to be human. Everyone encounters nostalgia differently due to age and experience, but old souls have the ability to use nostalgia to their advantage, whether it be preserving past memories or longing for decades they’ll never be able to fully live in. All nostalgia doesn’t have to be negative; in fact, nostalgia can lead to new roads and new memories that embody the old. Nostalgia hurts and nostalgia excites. At the end of the day, the clock will be ticking, and we can’t turn time back. Instead, with the help of old souls, we can embrace it and love life–past, present, and future!
Rock music began to transform in the late 1980s with a rougher sound and a tougher edge. Guitars sounded faster and dirtier while power ballads instantly became fan favorites. The pioneers of this shift in rock music had an identity all their own: they were classified as hair bands.
Hair bands, also known as glam-metal bands, paved the way for heavy metal, which would emerge as a definite genre in the ’90s. Wild hair and make-up soon became a normal look for heavier rock bands. The appearance and the sound seemed inseparable.
Among these hair rockers were groups like Poison, Whitesnake, Bon Jovi, Ratt, Mötley Crue, Warrant, and Dokken. Of course, there is always Def Leppard.
When I asked my readers to help decide which hair band I should focus on for July’s Monthly Mixtape feature, Def Leppard was the clear winner among all social media channels. Whitesnake and Poison didn’t receive near as many votes.
What makes Def Leppard so legendary as a powerhouse hair band? Not only will I review two underappreciated Def Leppard songs for this mixtape, but we’ll take a look at several of the band’s momentous songs and how these songs helped to shape the rock legacy that continues to live and breathe today, especially for younger generations.
What’s Monthly Mixtape? Each month on Confessions of a Classic Soul, Nicole reviews an underappreciated song from decades past. Her love for underrated songs, plus her literary analysis skills, allow her to find hidden gems within songs.
Let’s Get To It!
Whitesnake’s reaction to not gaining enough votes for this Monthly Mixtape
“Truth?”–1996
Listen to “Truth?”
A mysterious-sounding instrumental leads to a very heavy guitar introduction, which will play a role in the song’s overall meaning. Lead singer Joe Elliott jumps in with opening verses that quickly flow together as the song’s story begins to unfold. The intensity of the guitar background immediately coincides with the intense imagery of “burning” , “dousing”, and “whiplash.” These feelings are physical, not to mention painful, and they help set both the tone and mood of the song. The lyric “backlash,” however, is a key word here, simply because listeners aren’t sure of what type of backlash is at play. Just as the lyrics keep coming, the mystery of truth keeps unraveling for listeners as well.
The anger in Elliott’s signature gravelly voice also keeps the song moving. Again, imagery is a key driving force. He was burning, and later he melts into sleep. These images call to mind youth–an energy and enthusiasm that pushes forward. As a result, the “feet of clay” belong to an older adult who is an authority. As the anger builds, listeners can make the connection that Elliott is addressing someone like an employer. More often than not, young adults have to work their way up the ladder of employment and status. They have to start at the bottom of the totem pole because this system has been normalized in modern culture. Experience and age are deciding factors of success. So, Elliott repeats the essential question: is he truly being victimized simply because he is young?
The questions unravel more complex ideas as Elliott enters the second half of the song. He implies that, with age, conscience is thrown away. Neither logic nor morals play a part in life, whether actions are good or bad. There is a sense of automation here, as older people tell lies and deceive youth. At this point in life, elders are just rolling along with no rhyme or reason. They have been disillusioned and can no longer dream.
Color is used as an extended metaphor in the next verses, bringing in even more intense visual imagery. Instead of decisions being black or white, Elliott mentions that he sees the black in the white. Scientifically, the lyrics do not make much sense since white is devoid of any color, including black. Metaphorically, Elliott refers to being able to view all sides of an idea, person, object, etc. When there is gray, he sees color. There is positivity and hope. While the modern world would rather bleach away all the color to eliminate possibilities and dreams, Elliott would rather hold onto the color, even if he only sees it because he is young.
Overall, this song takes a stab at the power of youth. Elders have a tendency to focus on reality, while youth have a tendency to dream. This song pits old pessimists against young optimists. Elliott begs for the truth, and he questions whether or not he should compromise and give in to what everyone else tells him. Should he become absorbed into the natural way of thinking? The anger and intensity of the song escalates through the guitar riff, amplifying the imagery and reflections embedded in the lyrics.
“Have You Ever Needed Someone So Bad?”–1992
Listen to “Have You Ever Needed Someone So Bad?”
All rock bands have a string of ballads in their discography, and Def Leppard is no exception. Their 1992 track “Have You Ever Needed Someone So Bad?” is very relatable and emotional, giving it reason to stand out among the band’s power ballads.
Right from the start, weakness and defeat are outstanding themes. Just as Elliott sang of being victimized for his youth, he is also victimized here by the woman who keeps shutting him out. Rock groups are known for their “tough” appearances. Def Leppard is naturally one of those rough and tough groups, but this song shows how a man can feel defeated. Elliott’s persona on this track is that of a man who experiences heartbreak and deep emotions. The gentle tone in his raspy voice contributes to the pain and highlights the difference between upbeat songs and ballads.
Unrequited love, the true focus of the song, is clear through the chorus. Although listeners do not know the entire story behind this failed love, they can easily relate to the questions Elliott poses in the lyrics. The “have you ever?” and “did you ever?” show that he’s looking for connection and hopes someone else can understand his heartbreak. The beauty of all music is the ability for listeners to personally and emotionally connect with lyrics. With this song, the listener is taken along this journey with Elliott.
On the other hand, what if the questions in the chorus are directed to the woman instead? Again, relatability is important, as Elliott presents a familiar pain known to others. By asking the woman “have you ever needed someone so bad?”, there is hope that she will come around and surrender her heart to him.
Time is another interesting ingredient in this song of familiar, yet complicated pain. The woman wants to keep moving, despite Elliott’s plea for her to stay in the present moment with him. Right now, Elliott is frozen in time, not moving forward. Instead, he can only relive the moments he had with her, even though she didn’t plan on staying around. Stagnancy and urgency battle each other as the song progresses, whether it is midnight or dawn. Her apathy keeps her going while his empathy keeps him still.
By the bridge of the song, emotions are still running high…for Elliott, at least. He reflects on how he is addicted to this woman, and he has been trying his hardest to give her his love. He is reckless with his emotions for her, but she either doesn’t see them or simply doesn’t want them. He even goes so far as to promise devotion to her if he never finds the right woman for him. This love drives deep, even if it wasn’t meant to be. As he sings, he’s damned if he tries and damned if he doesn’t. He is frozen in a never-ending battle. His need is not her demand.
Living “Rock of Ages”
In looking at Def Leppard’s career, specific songs cannot be ignored. COACS readers love a variety of tracks, both iconic and forgotten. With Def Leppard comes honesty, universality, and reflection. Ordinary emotions and situations are amplified by the heavy guitars and unexpected lyrics. In Def Leppard songs, persuasions of love result in referencing “stagefright” and equating love’s healing power to that of a “medicine man.” Infatuation leads to “hysteria” while “love bites” and draws out personal weakness. Not only does the band tackle themes of love, but also time, youth, tangibility, and the nature of rock and pleasure. The “photograph” will never be able to substitute a real love, but “rock [will be around] for ages.” And although pouring actual sugar on yourself will only make you look like an idiot, the metaphor of “Pour Some Sugar On Me” captures raw human emotion. Def Leppard’s legacy, which involves loud guitars and a typical “hair band” look, impacts listeners of all ages. Instead of getting lost in the guitar riffs and heavy drumming, listeners become swept-up in the imagery, commonality, and human intensity that is, and always will be, Def Leppard.
I’d like to thank all my readers who voted in the Readers’ Choice poll for this post. I enjoyed listening to the songs you suggested! I’d also like to thank my friends and peers who, alongside me, are living proof that rock will never die for younger generations. Special shoutout to: Eileen, Theresa, Annie, Danny, Chris, Stephani, Kaylee, Matt, Levi, Natalie, and anyone I may have missed. Thank you for showing me that a community of 18-22-year-olds who love classic rock exists!
Before You Go…
Don’t forget to follow the Guilty Pleasures of a Classic Soul playlist which includes all songs featured on Monthly Mixtape. You can now listen on either YouTube or Spotify!
No matter the novel, film, TV show, or play, the audience immediately learns who the antagonist is and what he or she desires from the protagonist. These villains are often ugly in appearance, symbolizing their immorality on the inside. These villains are unforgettable and ruthless. Even though some may be attractive with their luring powers, nearly all villains are vanquished by the resolution of the story.
However, not all villains are purely evil like the Wicked Witch of the West, the Joker, or Emperor Palpatine. The most compelling evildoers are those characters who complement the main villains.
In other words, these characters behave immorally, often working with the main
villains, but they also grapple with their morality at the same time. They are unsure of themselves and try to find a balance.
These characters can be tricky to find, and they also may be considered antiheros instead of direct antagonists. Nonetheless, these characters are cunning, complex, and utterly compelling.
In analyzing this type of character, I have identified four specific examples of characters who demonstrate the “complementary villain”: Drake Stone, R.M. Renfield, Xander Cook, and Charlie Dale.
Drake Stone
Meet Drake Stone! At around age fifteen, he was partly trained in sorcery by his Morganian mentor who left abruptly. Unsure of what to do with his new powers, Drake Stone became a well-known illusionist. Although a very minor character in The Sorcerer’s Apprentice, Drake Stone (played by Toby Kebbell) is no doubt a complementary villain who still retains bits of his own morality.
The 2010 film focuses on the battle between sorcerers who support Merlin and sorcerers who support Morgana le Fay. While Balthazar trains Merlin’s prime successor, Horvath, a Morganian, aims to destroy the world. To assist him in his malicious endeavors, Horvath enlists the help of Drake Stone. Stone is honored to meet Horvath, but his turning sorcery into commercialized magic disappoints Horvath from the moment the two meet.
Without a doubt, the movie is cheesy at times, which is why it so entertaining. In the cheesy moments, however, Stone’s morality shines through. For instance, when Horvath demands that Stone make sure the satellites are arranged properly, Stone is not paying attention, but is instead interacting with his fans and signing autographs. When he finally trudges over to Horvath, he’s frowning. The next bit of dialogue shows how unsure Stone truly is:
Drake: “…It’s just nice for them [the fans] to see a genuine icon like me.”
Horvath: “Fortunately they’ll all be dead soon.”
—The Sorcerer’s Apprentice, 2010; director: Jon Turtletaub
After this conversation, Stone’s facial expression reflects pain, as if he’s unsure of Horvath’s plan. Why would he want to annihilate his own fans? After all, Stone didn’t grow up as an authentic Morganian. He made the best of the situation after his mentor disappeared, but he’s not a pure Morganian at heart. For Stone, the performances, fans, and publicity are what truly matter to him. At the end of the day, he didn’t have a choice when Horvath stepped into his gaudy apartment and lavish lifestyle. No one says “no” to Maxim Horvath. End of story.
Additionally, Stone’s interactions with Dave, Merlin’s successor, are also not very villain-like. One of the most iconic scenes from the film is the bathroom scene where Stone is sent to threaten Dave into giving up the dragon ring, which is essential for Horvath’s ultimate evil plan. At first, Stone struts in with his high-heeled boots, black cape, and wild hair. His appearance is threatening to Dave, but the threat itself isn’t deadly. Once Stone gets Dave to pull out the ring, he starts cracking jokes, asking Dave to use a spell on him. By the end of the amusing scene, Stone is rambling as he fails his one task. He began the evil deed so well, but, by the end, he didn’t succeed. Therefore, Stone is not purely evil.
Drake Stone being a somewhat evil villain!
Later on in the film, when Stone helps Horvath find the Grimhold (another piece of the evil plan), Horvath finds it using magic, making Stone look dumb for using his human eyes. Stone’s only other truly “evil” acts are his impersonating Dave to attack Balthazar and driving a getaway car. In the end, Stone is no longer valuable to Horvath, so Horvath kills him with the “Parasite Spell.”
Overall, Stone isn’t the most innocent character of the bunch, being Horvath’s assistant, but he had the ability to turn into a dynamic character because of his uncertainty about Horvath and his devotion to performing and pleasing his fans. Drake Stone was actually a cool dude before Horvath killed him, but nothing good ever comes with Morganians.
A Raving Lunatic with a Heart
Meet poor R.M. Renfield! Dwight Frye’s portrayal of the lunatic Renfield in the 1931 film version of Dracula is so eerily spot-on that Renfield’s character springs to life from the pages of Bram Stoker’s classic novel.
Let’s be clear: Renfield has always been a victim, whether he’s under Dracula’s spell due to his already present lunacy (novel version) or he’s the solicitor sent to take care of Dracula’s travels to London (film version). Either way, Renfield cannot escape Dracula’s power. The intrigue behind Renfield is not simply his zoophagous nature of eating flies and spiders, but the way he can care about others.
In the novel, Renfield attacks Dr. Seward, proving that Renfield is indeed dangerous. In both adaptations, however, Renfield warns the other characters that Mina is in danger. Frye’s portrayal of Renfield in the scene where Dracula commands that Renfield attack Mina is heartfelt; he pleads for Dracula to not make him do this. Renfield has true emotion here. He is disturbed at Dracula’s request and wants nothing more than to disobey it. He refuses it so much so that he starts spilling the secret to Dr. Van Helsing. Renfield has a heart and a sense of morality.
In terms of evil, Renfield, to reader and viewer knowledge, does not actually consume any human blood. On the The Minnow, it is unclear who killed the crew, at least in the film. Was Dracula the only culprit, or did Renfield join in? Given that, in the sanitarium, Renfield only consumes flies and spiders, the audience can assume that he is not purely evil. On the other hand, when Dr. Seward’s maid faints in the film, Renfield begins to crawl over to her with a creepy fascination. Had he not been caught in his act, he may have taken his first sip of human blood. Therefore, Renfield can be persuaded to evil, especially as he still does Dracula’s bidding for a while, but Renfield is not purely evil at all!
Renfield almost takes his first sip of human blood
The Soaps
Soap operas show the development of various characters over time, and Days of Our Lives has been allowing the audience to watch Salemites change for over fifty years. While some characters such as Stefano DiMera and and Victor Kiriakis will always be stubborn and somewhat cold-hearted, other characters are insecure and flip-flop personalities–literally! In considering which complementary villains change the most, I couldn’t help but choose Xander and Charlie, and I think most DOOL fans will agree!
Meet Xander (Paul Telfer)! The long-lost nephew of tycoon Victor Kiriakis, Xander popped up in Salem one day, unwanted and unloved. All he wanted was to become a bigshot in his uncle’s business, but Xander would have to prove his worth over the years in order to do so. In fact, Xander started his time in Salem as being Victor’s gardener.
Where does one begin with Xander? He’s had many entrances and exits since his time began on the soap, but that doesn’t mean that his character hasn’t been soapy. He’s worked with most of Salem’s bad eggs. He’s lied, killed, manipulated, double-crossed, and tortured. The only thing Xander hasn’t done is die and come back to life like the majority of Salemites–although he did help Kristen and Dr. Rolf revive a string of dead villains.
Besides his evil acts, he is quite the ladies’ man (or thinks he is) and knows how to sweet-talk the ladies into bed. Quite simply, Xander’s motto has always been “do what’s best for Xander.” However, some of those bad boy ways changed when Xander met Sarah, a goody-two-shoes doctor who also happens to be the daughter of Victor’s wife. Eventually Xander falls head over heels with Sarah, and is committed to having her no matter the costs. During this time, Xander cozies up to Uncle Vic and earns a job at Titan. The uncle and nephew get along very well, even when they coordinate a baby-swap so Sarah doesn’t have to deal with the fact that her actual baby died in a car accident (not the best plan in the world). Needless to say, that plan blows up, proving that Xander is moral in that he loves Sarah and is loyal to her, but he’s still able to hatch devious plans from that brain of his.
Time rolls on and Xander and Sarah are back together. Xandy’s still a bigshot at Titan–that is, until Uncle Vic’s son Phillip comes back into the mix looking for a highfalutin position. Victor makes Phillip and Xander co-CEOs, which, unsurprisingly, doesn’t go well. Phillip tries to get dirt on Xander, and vice versa; in this case, however, Phillip is actually playing dirty, and Xander is a good guy trying to save the company. He’s cleaned up his act, for the most part, and he is an admirable character.
Most recently on the soap, Xander is having major issues. After Sarah “stood him up” at their wedding (even though it was Kristen impersonating the real Sarah), Xander has sunk back into his evil ways. Really, he can’t help it. Sarah was the best part of him, and, with the real Sarah missing, Xander can only resort to his old ways in order to take care of himself. He began waving guns around again, not to mention some classic blackmailing and cheating with a married woman.
Yet, Xander still isn’t purely evil. Jack Devereux, the local newspaper editor, is Xander’s only true friend. Like with Sarah, Xander will do anything for Jack, even if that means ruffing up a doctor who blackmailed Jack’s daughter, Gwen, into selling drugs. Gwen, who also has a jaded past, talks Xander out of killing the doc. She tells him that they are both outsiders who are misunderstood. She’s very correct here. However, Xander’s “ruffing up” causes the doc to have a fatal heart attack. Now there’s another dead body in Salem. Surprise, surprise!
Why does Xander have a gun?!
Xander is simply a compelling character to watch. He amuses himself when he cracks jokes! Xander lives his “best life,” even if it’s not the best he wants it to be. He is a badass, but he’s also a total sweetheart.
Meet Charlie Dale (Mike Manning)! He’s an innocent-seeming young lad who comes from a rocky childhood. What most Salemites didn’t know was how much that negative childhood affected his self-esteem and mental health.
Charlie has mommy issues. Son to ex-Italian mobster Ava Vitali, Charlie soon learns to feel unloved by his mother, who longs for the firstborn son she was taken away from. As a result, Ava couldn’t care less about Charlie and would rather have him spy on the now adult firstborn son she’s trying to reach.
When Charlie enters town, he winds up working for Titan as an intern, meaning he becomes planted in the middle of (wait for it) Xander and Phillips’ co-CEO feud. Each CEO asked Charlie to find dirt on the other. In this situation, Charlie is innocent because he doesn’t want to get on either CEO’s bad side. He plays both sides of the deal, trying not to get himself in trouble. Eventually, his “innocence” leads him to coming clean and confessing to Phillip that he’s been spying for Xander. Sweet Charlie just wants to be on everyone’s good side.
Then enter the girlfriend. Charlie and Claire find themselves falling for each other, especially after an unplanned kiss. Even on their first date at the Brady Pub, Charlie is a gentleman, and there is no cause for alarm. He jokes, he smiles, he compliments; he’s perfect…
Until the viewers witness him talk to his mother. His conversation with Ava shows how Charlie isn’t totally on the up and up. His tone of voice hardens as he talks to his mother. He is jealous and resentful that his half-brother gets more attention than he does.
So his mother doesn’t spill the secret that he raped a beloved Salemite, even though the community thinks his half-brother did, Charlie drugs his own mother and ties her up in his apartment. Ava goes “missing” for weeks as Charlie tortures her.
The glasses are off, so Charlie must be bad today!
When he’s at a party with Claire, he comes face to face with the girl he raped, and he clams up. He devises a way to excuse himself, but Claire gets suspicious. Various members of the community seek the truth of who is rapist, especially because a child’s involved.
Sadly, Charlie is shot by another crazy Salem villain, who doesn’t even kill Charlie because of what he did. On one hand, Charlie’s disgusting and unforgivable deeds earned him the impersonal murder, but, on the other hand, Charlie’s abnormal childhood left him predisposed to emotions and misgivings about women. Viewers can’t help but feel some sympathy for Charlie Dale.
What’s my True Confession when it comes to soap operas? Click here to find out!
Misunderstood Outsiders
Complementary villains are misunderstood. They have a lot of thoughts bouncing between their ears as they try to decide whether or not they’re on the side of the law. In many cases, these villains assist the prominent, purely evil villains, but they are unsure of themselves. They have not completely sold their souls, and they will keep fighting to find who they are!
New to Confessions of a Classic Soul (COACS)? Don't be afraid to poke around the site and read other totally tubular posts. COACS is here for all old souls, no matter the age. Be sure to scroll down and subscribe in order to receive notifications for future blog posts. If you'd like to join my author email list, please check out the "Stay in Touch" page before you go!
In 1987, voracious music fans were treated to a variety of new music as the decade grew hotter with heavier beats, wilder hair bands, and groovier RB/Soul hits. The year also paved the way for two powerhouse singers who each formerly left their original bands.
George Michael and Andrew Ridgeley dissolved Wham! in 1986, a mutual decisionthat allowed George to grow as a solo artist. Before releasing the Faith album, Michael experienced a “bridge” period of music where he performed two duets, the first being the Grammy-Award winning “I Knew You Were Waiting (For Me)” with Motown sensation and icon Aretha Franklin.
Meanwhile, Jody Watley was the female singer in the band Shalamar, who formed in 1977. After several albums, including the song “Dancing in the Sheets,” Watley left Shalamar in 1984 to pursue her own solo career. She would, later in the year 1987, chart with famous songs such as “Don’t You Want Me” and “Looking for a New Love.”
In ’87, Michael and Watley teamed up to sing an emotionally and vocally outstanding cover of Richard “Dimples” Fields 1981 “I’ve Got to Learn to Say No.” However, when comparing the two versions, the duet has a different set of lyrics, so it’s not an exact cover, and the title was shortened. Both songs are executed brilliantly, but the duet allows for each singer to show-off the voices they have grown into.
Today would have been George Michael’s 58th birthday, so, as always, June’s Monthly Mixtape review celebrates Michael, today by featuring this often forgotten duet.
“Learn to Say No”–The Duet
There’s an energy that comes with the opening instrumental of the song, and it will pave the way for the emotional lyrics. A curiosity lives in this instrumental, as well as an attraction. Immediately, the song emits a strong gravitational pull for the listeners.
Cue George and his powerhouse voice! The first lyrics the audience hears are “Too strong”, followed by a “Whoa” that soars; fans who are used to hearing George Michael’s higher pitches in Wham! songs get a taste of how Michael will grow as a vocalist in 1987 and 1988.
The chorus is introduced right away, and the word “strong” is both eye and ear-catching. Here, “strong” isn’t used as muscular strength, but of course mental and emotional strength. This strength is sensual, where lust and desire overpowers logic. Singing together, Michael and Watley admit that “something is wrong.” They know that the attraction is so great that they need to “learn to say no” and curb those desires.
Easier said than done, of course! Michael dives into the first verse, articulating the fact that giving up on this relationship is far from simple. “Playing games” is a topic and phrase that Michael would eventually reference in songs on the Faith album, but it is introduced here, and Michael makes very clear that not taking the relationship seriously or even looking elsewhere for love isn’t an option. Only this his relationship can heal that “hole in his heart.” However, this love doesn’t make sense, and even he admits that he has no clue what he is doing. A battling love/hate feeling arises here as Michael says he can’t leave this relationship, yet he keeps coming back for more. He wants it, but then he doesn’t. The last line of that verse is one of the most powerful, especially with Michael’s release of the note, jumping into a higher octave. This love is like a gun, and he wants it pulled away. The mental and emotional battle is underway, and Michael has enough logic to know he should get away and “say no.” But will he do it?
Jody Watley takes over the second verse with as much passion as Michael in the first. She explains that this battle has been ongoing. It’s the same old story time and time again, yet they always fall back into each other’s arms. She analyzes her own logic by admitting that she often plans to leave. Desire, however, overpowers the will, especially because Watley knows that she can eventually get over the heartbreak of ending the relationship. The body, instead, takes control and logic is tossed out the window. Meanwhile, focusing on vocals, Watley’s silky voice and emphasis on specific lyrics mirror Michael’s emotional battle. The pleasure and the pain are apparent in both of singers’ voices.
The song can be found on Watley’s self-titled debut album.
By the bridge of the song, both Watley and Michael realize that they can’t win this battle. They’ll lie to themselves to keep the relationship going. The repetition of “Gimme that” reiterates that the lust is building and they can’t stay away from each other. This relationship may be toxic, but pleasure will keep winning.
Not much to say about the sax solo except that it echoes the passionate tension of the lyrics!
The end of the song features Watley and Michael repeating lines and riffing off one another. The back and forth sounds as though they are actually having the emotional battle at the same time, which is a very neat effect of a duet. In the middle, Michael sneaks in the line “I’m just a slave to your heart.” The word “slave” has a very strong connotation here. The word itself emphasizes how this battle is never-ending. “Slave” has a very negative connotation in general, but here it is almost good and bad. Because they both like and hate the relationship, the word can be positive or negative, depending on whether they are happy with the relationship or want it to end.
Overall, Michael and Watley’s duet blends their iconic voices not only to emotionally convey the meaning of the song, but to show how each singer would come to stand-out tremendously with their solo albums.
“Dimples'” Original
As mentioned previously, Richard “Dimples” Fields’ version of the song has completely different lyrics, although the instrumental is very similar. Fields’ version was recorded in 1981, but a ’70s disco vibe still rings true throughout the song. Unlike the duet, Fields’ isn’t having issues with one lover, but all of them. Quite simply, he has too darn many of them! He needs to quit being a ladies’ man and settle down with only one of them. This song is very light-hearted and even humorous, where the duet is more emotionally charged and serious.
Both versions of the song still tell the tale of a mental and emotional conflict that has too many tightly-wound knots!
Oops, I Said “Yes” Again!
Sometimes, saying “no” is important for sanity, but the body can overpower the brain. Both the duet and original versions of the song are a joy to listen to. The premise of each one is generally the same, but the duet features two powerhouse singers who make the song just as addicting as the toxic relationship! Who can say “no” to George Michael and Jody Watley?!
Before You Go…
Be sure to follow the Guilty Pleasures of a Classic Soul playlist that contains all of the songs featured on Monthly Mixtape reviews. You can listen on either Spotify or YouTube. Also, please remember that we’re looking for YOUR input on July’s Monthly Mixtape. Keep an eye out on social media for the poll where you’ll help select which Hair Band is featured next month!
What is my True Confession #7 involving Jody Watley? Click below!
Confessions of a Classic Soul 