Help me out please, since I only got an A in Econ 101... How is allowing citizens to keep more of their own money "stealing" from the government?  I'm convinced a liberal wants the tax rate to start at 100% and anything below that they're nice enough to throw our way.  No one is taking away from low income people since they don't actually pay any taxes, so, of course, a tax cut helps "the rich", as their percentage of earnings is larger than, say, mine.  As a percentage, the middle class will get a sizeable amount more based on earnings.  As for "giving deals to corporations", let me ask you in all seriousness: How many jobs have you gotten from a poor guy?  I'll wait... that's right.  Exactly zero.  Businesses actually HIRE people, so in a sane person's reasoning, they will invest to grow their business.  It's a little thing we rubes call Jobs.

A PTBNL Guest Post: The Day Star Wars Died by Brad Weiland

Editor's Note: Since I post on here about as often as Boston releases a new album, I decided to give the floor to a good friend, who passionately shared his impression on Star Wars VIII: The Last Jedi.  These are his thoughts...

February 3rd 1959 was the day the music died: the night Buddy Holly, The Big Bopper and Ritchie Valens died in a plane crash in Clear Lake Iowa. The Day Star Wars died for me was December 18th, 2017, in Wausau Wisconsin.

Just to give some background on this, I have been what you would call a Star Wars Nerd since I was very young. Episode IV was released in 1977 and I was born into this world in 1974; and even in my youngest years, I can still recall the absolute ground swell that George Lucas thrust upon us back then. The two absolute loves of my childhood, and to this day, have always been baseball and Star Wars. So you can imagine my excitement level was pretty high as I experienced a whole new cinematic experience last night in a heated barkalounger with an anxiousness that only a new Kiss record, Brewer pennant chase or Star Wars canon can produce.

Two years ago I walked out of Episode VII very unsatisfied as I felt J.J. Abrams and Lucasfilm Ltd. just bilked me out of my 10 bucks with an all over the place knock off of Episode IV; plus they killed off Han Solo. I was really disgruntled about that! This leads me back to last night.

The Last Jedi was an OK movie when it comes to movies. But this isn't just another movie.. this is a frickin' Star Wars movie! Anything less than excellence just will not do. And then it happened about two hours and fifteen minutes in: after a really awesome scene where Luke sticks it to Kylo, projecting himself onto Crait so what is left of the Resistance can get away, he dies. I was beside myself inside, trying not to be dramatic to the folks I was attending with.

I was not a fan at all with the direction they took with Luke's character the whole movie, expecting that he would be back for a pivotal role in Episode IX. They made my childhood hero into a paranoid and despondent recluse/coward. The same guy who oozed confidence in Jedi and willingly risked it all on a hunch, sensing conflict in Vader. This coupled with him dying made me really unhappy as I left. I honestly was mourning.

Today as I regurgitated the movie in my mind it dawned on me that Star Wars, and in turn part of my childhood, died. It's time for the kids today to latch onto Finn or Rey and have their lifetime hero. Perhaps Rian Johnson was right to "let the past die". This reminds me a lot of Rocky IV when Tony says "When Apollo died, a part of me died". Well last night, when Luke died, a part of me died. And now I suddenly feel about twenty five years older... - Brad Weiland

Sons Of Apollo: Psychotic Symphony review

Have you ever felt like you've run a marathon, yet never left your favorite easy chair?... well, that's the sensation I got after delving into Psychotic Symphony from the tour de force known as Sons Of Apollo.
Consisting of Mike Portnoy (Dream Theater, Winery Dogs), Derek Sherinian (Dream Theater, all world...), Billy Sheehan (DLR, Mr. Big, Winery Dogs), Ron "Bumblefoot" Thal (GNR, That Metal Show theme), and Jeff Scott Soto (Yngwie, Journey, W.E.T., Talisman), Sons Of Apollo display a unique amalgamation of progressive leanings coupled with solid melodies. A good portion of those melodic leanings can be attributed to the inclusion of Jeff Scott Soto as vocalist. Long ignored by mainstream listeners, JSS has proven to be quite the vocal chameleon in his 30+ years in the rock scene.
"God Of The Sun" starts off with an interesting middle-eastern theme, before kicking into a double-bass, staccato guitar/keyboard main riff.  After a healthy progressive leaning introduction, the song turns into an interesting Deep Purple influenced verse section.  The chorus is quite catchy, given weight by the grounded Soto vocals his fans will remember from early Yngwie albums.   The slow middle section adds a fascinating change that seques into what many will term the "Dream Theater" portion.  I hesitate to label anything this band does as derivative of their past endeavors simply because I expect them to.  It's Portnoy & Sherinian for Christ's sake! If anyone can do it, they've earned the right.
2nd single "Coming Home" is basically a straight ahead rock track, with an amazing keyboard intro.  The main riff is loose & fluid.  What this song does is let Jeff shine, showcasing his forceful, anthemic vocals..  Interestingly, it's really on this song when long time Sheehan fans will hear that he's changed his signature sound & given it a beefier, spacious bottom end.
We've reached the first single "Signs Of The Time", and it's here we really get a complete vision of what SOA is: Progressive leanings, heavy melodies, virtuosic musicianship.  There's much here to digest between the classic metal vocals & odd time signatures.  Sherinian, especially, shines on this track, weaving keyboard lines in & out of the various sections.  Thal's guitar breakdown around the 4 minute mark shows an impressive use of notes & space, a hallmark of modern prog rock.  This was a solid choice for the initial release as it houses nearly all the elements the separate players bring.
"Labyrinth"... Wow, what does one say?... From the opening ethereal keyboard passage, through the verse & chorus, there's a clear epic feeling that this song will be a journey.  Again, it's interesting to note how Portnoy's choice of Jeff Scott Soto as vocalist somehow changes how one would think these songs would be presented otherwise.  There's a foundation that Soto brings in his metal register that separates this prog from some of the others; It's clearly not in the Marillion/DT/Porcupine Tree milieu, but those MUSICAL elements are there.  It makes for an interesting dichotomy that keeps the songs grounded in classic hard rock.
"Alive" begins with a riff lush with chords many would equate to mid-90's grunge, until JSS starts to sing a classic hard rock vocal in his lower register.  This track would most closely resemble something off JSS' solo band SOTO material.  Slick, spacious arrangement, letting the melody control the song.  A nice mid-tempo change after Labyrinth & the cacophony of craziness to follow...
The opening riff just got finished & I'm already exhausted... "Lost In Oblivion" is a frenetic tour de force.  There's Nu-Metal nods, progressive elements, happy fun time signature craziness... It isn't until the chorus when one feels there's a direction to the song, and I think that's by design considering the title.  I always feel a little on edge when this track comes on, as it's hard to reconcile many of the parts as whole.
"Figaro's Whore" is a sweet little Sherinian diddy that leads into one of my personal standout tracks.
This song is literally my "Divine Addiction"... From the distorted opening keyboard, to the guitar doubled main riff, one can't help to feel a Deep Purple/Kashmir connection.  What really makes this track stand out is the vocal prowess of JSS.  One listen to that chorus not only sets the toes a tappin', but if you're not air drumming, you may want to check your pulse!  When Soto heeds all that "It's begging you, begging you to stay" there's SO much power in the delivery you wonder if maybe you wronged him personally at some point.  I would call this the song that Blackmore forgot to write.  Exquisite, memorable, and certainly one I will come back to often.
Finishing off this excursion is a 10+ minute instrumental "Opus Maximus".  Now those familiar with Dream Theater will see an obvious parallel here, as the two main forces in SOA are Mike Portnoy & Derek Sherinian,  That being said, Bumblefoot more than holds his own on the guitar front & I challenge any Billy Sheehan fan to realize this is actually him on these tracks without knowing.  The Ron Thal/Billy Sheehan duo musically will be the ones scrutinized on this release & I can tell you they both play amazing.  In fact, it almost seems as if they play off each other quite a bit, which in turn lets Portnoy & Sherinian shine in their places.
As a listening experience, Psychotic Symphony challenges, yet rarely strays from the melodic/progressive genre they surely are targeting,  There are enough metal elements to satiate those that need a fix of double bass & down stroke picking.  I know the guys are dedicated to this as a BAND & not a project, with a full 2018 planned on the tour front.  I, for one, will be supporting them in that conquest, because, dammit, how often does one get to see world class musical gods together at their finest?!

Female Golfer Denied Trophy Over Rule

I will preface this post by saying I watch the LPGA at least twice as much as the PGA. I feel what's lost in this "outrage" is that she also has the option to golf the women's side in the spring. I have no problem with her winning the trophy on the boy's side. Zero. None. But then she shouldn't be eligible on the women's side. Easy solution. Of course it's a ridiculous rule, but I assume it's in place so the women's side doesn't get diminished. Regardless, it was handled very poorly, and showed an immense lack of foresight (as if the powers that be didn't believe a girl could win from the same tee boxes). Believe me, in my bowling life I've been whooped by many a female and while it sucks to get beat by anyone, hats off to the many fine women bowlers that knocked me down a notch.

Harem Scarem "United" Review

26 years and 14 albums... and no end in sight for the boys in Harem Scarem. Here they return with a strong offering covering all aspects of what makes this band such a hidden treasure. There's everything you want from Hess & Lesperance et al, along with some inspired curveballs that somehow don't seem to be outside the Harem norm. I've long championed this Canadian band for their refusal to do what is expected, while still staying true to their guitar-driven, massive vocal MO. And they certainly don't disappoint on "United".

Speaking of "United", the album moniker kicks off this slice of AOR in prime fashion. Following a heavy opening riff, Lesperance dives into a wonderfully jaunty diad leading into the main riff. The verses play over some sparse open chords, creating space to breathe before the classic HS chorus. A solid opening.

"Here Today, Gone Tomorrow"... this would have fit perfectly on the "Higher" disc. I hear songs like this and wonder how this band has been ignored for so long. A perfect representation of what melodic AOR should be. On a personal note, it features background vox from another of my favorite artists, Jeff Scott Soto. Song two and we're already being deluged with some of the best melodies in the genre.

With "Gravity" we get our first taste of the eccentricities that make HS so versatile. There's a good bit of Queen influence in the background vocals here. After the straight-forward melodies of the first two tracks, Gravity is a welcome departure, slightly challenging the listener to come along for the ride.

"Sinking Ship". Wow. Just wow. This song personifies just how GOOD Harem Scarem can be at any given moment. I really enjoyed the nuances in Lesperance's guitar lines, especially the slight string bend before the second verse. Great lyrics: "I'm gonna stand my ground on a sinking ship". It's amazing that the chorus vocals are done by two people: Harry Hess and Darren Smith. Notice the Nuno Bettencourt/Brian May influence in the guitar solo. Even after all these years, Pete Lesperance still pays tribute to his heroes.

We've reached the power ballad portion of the program and what a portion it is. In "One Of Life's Mysteries", Hess works a beautiful melody over a simple piano progression before the song takes off into an unmatched melodic masterpiece. I am convinced, much like 13's "All I Need", that if this song was done by a current pop/rock artist, it would be huge. This is instantly up there with some of the best ballads HS has penned.

"No Regrets" really feels like a song that Def Leppard hasn't written yet. Very uptempo, with a rollicking verse section, this song again features the BIG background vocals we've come to expect from HS over the years. A perfect transition from a ballad to introduce the second half of the disc.

"Bite The Bullet" starts out with a silky guitar line that plays great into the melodic verses. The chorus carries that feel throughout, creating a catchy sing-along melody. If there's one over-arching theme here, it's the ability of Harem Scarem to consistently deliver memorable choruses. Jeff Scott Soto is featured more prominently on this track, especially at the end, creating a nice counter-point to the Hess/Smith vocals.

Straight out of Overload, "Things I Know" is a modern mid-tempo rocker that takes no prisoners. Trust me, this chorus is a Monster. Harry Hess is so severely underrated as a singer, songwriter, and musician. The dynamics of this song are document #1 on how to create tension and release within a composition.

Another song that would've been perfect for Hope or Overload, "The Sky Is Falling" is solid modern rocker. This one, I think, would take a little longer to digest for the uninitiated, but once the chorus kicks in, the melody is there. The Harem Scarem boys do nothing if not challenge the listener. Again, there is quite a bit of Queen influence here, especially during the solo.

The penultimate track, "Heaven And Earth", may well be the biggest track on the album. The main guitar riff is so catchy, it's hard not to rewind just to hear it again. If you can't sing along to this chorus, you may want to check your pulse. This thing is so beyond badass it'd drop Apollo Creed with just a look. If you listen to the chords played underneath the solo, you can just hear majestic perfection.

Closing out this delicious slice of AOR brilliance, "Indestructible" begins as almost a melancholy country song. 1:45 in, it suddenly changes to a chugging riff before veering off into a massive chorus that Harry nails at the top of his register. I can't overstate just how moving the vocals are on this song. You can just hear the emotion pouring out with every word.

People, this is THE BEST BAND no one has heard of. I can't implore you to search out their catalogue enough. Harem Scarem has just added yet another master class of AOR to their history. World class vocals and songwriting, along with virtuoso guitar riffs, make this a must own for anyone that calls themselves a fan of rock music. After disbanding in '08 & reconvening in '13, Harem Scarem have proven that absence cannot only make the heart grow fonder, it can grow into a bigger and better version of what it was.

4.5 of 5 stars. Easily.