"THE DOWNEASTER 'ALEXA'" BILLY JOEL (1989)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

This song will always be a fond memory for me as a music fan. The Storm Front tour show at Giants Stadium, NJ was my first rock concert. Being outside in the spring air with my high school buddies to see the Piano Man play classic after classic was an unforgettable experience. I still remember our seats. I remember the air. I remember the songs that made our bodies move. And then there were songs that we preferred to enjoy in our seats. “The Downeaster Alexa” was one of them.

As a master storyteller, many of Billy Joel’s songs are gripping, novel-like narratives. “The Downeaster ‘Alexa” is one of his finest songs, recounting the plight of a fisherman—with local references like Block Island Sound, Nantucket, Montauk and Gardiner’s Bay. The song is named after Joel’s own boat. But more strikingly, the story sounds like his own as well. Seeing Billy perform it live, I felt like my very hands were on the wheel of the Alexa. A visual song is a powerful one.

“But I've got people back on land who count on me. So if you see my Downeaster Alexa and if you work with the rod and the reel, tell my wife I am trolling Atlantis.”

"ANOTHER BRICK IN THE WALL, PT. 2" PINK FLOYD (1979)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

The Wall was my introduction to Pink Floyd. While I never gravitated toward the band’s earlier prog-driven catalog – save Dark Side Of The Moon and a handful of anthems, of course – The Wall played a pivotal role for me as a music fan. It’s when I truly recognized the power and breadth of albums, not one-off singles and tracks. As a concept album, The Wall is one of the most complete efforts of its era and seems to live under the shadow of Dark Side. It’s a shame because even a mainstream hit like “Another Brick In The Wall, Pt. 2” is a fantastic song in spite of its accessible sound.

The second track in the “Another Brick” series, this is the one that rails against abuse in the school system. It’s yet another brick in Pink’s wall. And musically, it pulls out all the stops to place the brick just right – Gilmour’s guitar solo, just the right bit of disco, the samples (“If you don’t eat your meat, how can you have any pudding”) and the kicker: the epic children’s chorus. “Another Brick In The Wall, Pt. 2” is that rare combination of chart topper, social commentary platform and music melting pot.

“We don't need no education. We don't need no thought control. No dark sarcasm in the classroom. Teacher, leave them kids alone.”

"STATE TROOPER" BRUCE SPRINGSTEEN (1982)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

In today’s cess pool of slick, over-produced albums, Nebraska stands as a beacon of all that’s good. The purity of the songwriting. The rawness of the performance. That’s it. I can appreciate a good synth flourish or extra guitar part like the next guy. But sometimes I just want to hear a great song, unencumbered and untangled. That’s the entire Nebraska album, including the brooding “State Trooper”.

Recorded in his house on a 4-track, “State Trooper” has the sound of genius emanating on the fly. Springsteen’s gift of songwriting lies in his ability to step inside someone else’s shoes and tell their story. Tell their story is what he does on “State Trooper”. It feels authentic and just the right amount of tension and anxiety to make you believe every word. It’s just his words and two chords on his guitar.

“Hey, somebody out there, listen to my last prayer. Hi ho silver-o, deliver me from nowhere.”

"HEAVY METAL DRUMMER" WILCO (2002)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

One of Wilco’s hallmark sounds as a band is the intermittent cacophony that comes in the middle of several of their songs. It’s a technique that I’ve heard a lot in jazz as well as with experimental bands like Velvet Underground. The intro to “Sweet Jane” transcends the accessible to the experimental. In the early 21st century, Wilco created an identity doing this their own way – often involving guitars and pedals. On “Heavy Metal Drummer”, the cacophony is handled mainly by the drums and synthesizers.

In the cacophony, we catch an audio glimpse of the heavy metal drummer themselves. An innocent, nostalgic and irresistible look back at a summer. Love. Music. And KISS covers. Lots and lots of KISS covers. What’s not to like? “Heavy Metal Drummer” is one of the more accessible tracks off the legendary Yankee Hotel Foxtrot, but that’s not to diminish any of its merits. The lyrics, in particular, are superb. A story that puts you there on the boardwalk under the hot, scorching sun. I can picture it and I feel like I vicariously experienced it.

“SHINY, SHINY PANTS AND BLEACH-BLOND HAIR. A DOUBLE KICK DRUM BY THE RIVER IN THE SUMMER.”

"THE SCIENTIST" COLDPLAY (2002)

For the month of November, I’ll be selecting songs in conjunction with the music Twitter challenge: #WelcomeToTheOccupation.

The first two Coldplay albums are easy to forget. They seem like so long ago. Remnants of a band that made unique and fantastic rock music. We all know what happened after that. The songwriting and production became contrived. The band drifted further and further away from originality. And, at times, their songs began sounding like corporate conference hype music. It was a sad turn. But Parachutes and A Rush Of Blood To The Head were phenomenal records, led by the slow tempo track, “The Scientist”.

It all starts and ends with those iconic minor chords on piano. Notes that cut to the heart. “The Scientist” made piano relevant again and did it as well as any song in the 21st century. Soon after, bands like Spoon, Keane and The Fray started experiencing their own success by putting the black and white keys in the foreground of their songs. Lyrically, “The Scientist” is brilliant with its metaphorical approach, complementing Chris Martin’s falsetto vocals perfectly.

“Nobody said it was easy. No one ever said it would be so hard. I'm going back to the start.”

"WE WORK THE BLACK SEAM" STING (1985)

For October, the Mental Jukebox is dialing it way back to the eighties and going deep. Deep cuts have always been an important element of music listening to me because they’re often the songs that resonate with me most. Deep cuts are usually the ones that the true fans appreciate most. I like my singles and hits, but I love my deep cuts.

My Dream of the Blue Turtles cassette was a prized member of my music collection. I loved all those songs. “Russians” and “Fortress Around Your Heart” are top 5 solo Sting tracks for me. But it’s the maturity and versatility of the entire album that I remember as I listen back to it for the first time in quite a while. The Dream of the Blue Turtles is an amalgam of social themes and genre explorations – and “We Work The Black Seam” is one of the album’s most ambitious tracks.

“We Work The Black Seam” is more than a song, it’s an essay about the decimation of the coal industry and the bleak prospects of a nuclear-powered future. The lyrics are Pulitzer Prize quality. But in typical Sting fashion, the best part isn’t just the words. It’s the way in which he strings the words along to a melody. Like many of the other tracks on The Dream of the Blue Turtles, “We Work The Black Seam” has inventive, wildly ambitious chord progressions, fused together to create a melody like no other.

“One day in a nuclear age They may understand our rage. They build machines that they can't control And bury the waste in a great big hole.”

"WE DO WHAT WE'RE TOLD (MILGRAM'S 37)" PETER GABRIEL (1986)

For October, the Mental Jukebox is dialing it way back to the eighties and going deep. Deep cuts have always been an important element of music listening to me because they’re often the songs that resonate with me most. Deep cuts are usually the ones that the true fans appreciate most. I like my singles and hits, but I love my deep cuts.

While “Shock The Monkey” certainly thrusted Peter Gabriel into the mainstream spotlight, the So album is really the output that made him a permanent fixture among the masses. “Sledgehammer”, “Big Time”, “In Your Eyes”, “Don’t Give Up”, everyone knows these songs thanks to MTV, mainstream radio and a coming-of-age flick called Say Anything. But lurking in the back end of this landmark album are two prog anthems – “This Is The Picture (Excellent Birds)” and “We Do What We’re Told (Milgram’s 37)” – that prove Gabriel never lost the itch for something far more unexpected.

“We Do What We’re Told (Milgram’s 37)” is a far cry from the track that precedes it (“Big Time”) in every regard. It’s a slow, prodding track that prefers to crawl under your skin rather than whack you in the head. The synthesizer and guitar notes are sparse and haunted. Minimal. The words resemble an existential poem more than a rock song. And the impression is far less immediate. A song that may not have an immediate impact on you, but days after hearing it you might find it lurking inside your head.

“One doubt. One voice. One waR. One truth. One dream.”

"MLK" U2 (1984)

For October, the Mental Jukebox is dialing it way back to the eighties and going deep. Deep cuts have always been an important element of music listening to me because they’re often the songs that resonate with me most. Deep cuts are usually the ones that the true fans appreciate most. I like my singles and hits, but I love my deep cuts.

Like any other band, there are varying opinions as to which album is the band’s best. Joshua Tree and Achtung Baby are often cited as their best, and deservedly so. Those albums are fantastic. But I would also put War and The Unforgettable Fire up there – and the latter is my personal favorite. The songs are great – a perfect array of bangers (“Pride”, “Wire”, “A Sort of Homecoming”), mid-tempo gems (“The Unforgettable Fire”, “Bad”), and ballads (“4th of July”, “MLK”).

“MLK” is a true album track. By itself, it’s great. But it’s infinitely better when played with the rest of The Unforgettable Fire in its totality. The element I’m most drawn to when it comes to U2’s music has always been The Edge’s manic guitar riffs. But on “MLK”, it’s missing. In fact, the only instrumentation is a sole drone note on the synthesizer that accompanies Bono’s vocals. It’s perfect as is. No guitar, snare hit or bass line can improve it.

“SLEEP, Sleep tonight And may your dreams Be realized.”

"BIG MAN ON MULBERRY STREET" BILLY JOEL (1986)

For October, the Mental Jukebox is dialing it way back to the eighties and going deep. Deep cuts have always been an important element of music listening to me because they’re often the songs that resonate with me most. Deep cuts are usually the ones that the true fans appreciate most. I like my singles and hits, but I love my deep cuts.

There are few artists more associated with New York than Billy Joel. It’s not just the artist’s hometown. It’s his inspiration – and often the state, the city and its people have been a key subject in his songs. “New York State of Mind”, “Summer, Highland Falls”, “The Downeaster Alexa”, “Miami 2017” and many other songs all reference New York in some shape or form. Another example of this is the deep cut off The Bridge, “Big Man On Mulberry Street”.

Jazz-influenced and featuring Ron Carter on acoustic bass, “Big Man On Mulberry Street” has plenty of big band moments as well as low-key meanderings. It feels like a big production in every way – from Joel’s piano playing to the horn section flourishes. Who is this big man on Mulberry Street? He can’t seem to stay out of trouble. He comes alive at night. He’s always making an impression. And Joel found just the right words to become him for five and a half minutes. When he writes about New York, he can't go wrong.

“Sometimes I panic, What if nobody finds out who I am?”

"WELCOME TO THE ROOM... SARA" FLEETWOOD MAC (1987)

For October, the Mental Jukebox is dialing it way back to the eighties and going deep. Deep cuts have always been an important element of music listening to me because they’re often the songs that resonate with me most. Deep cuts are usually the ones that the true fans appreciate most. I like my singles and hits, but I love my deep cuts.

Rumours will always be Fleetwood Mac’s piece de resistance. The holy grail. It’s legendary and stands among rock’s greatest albums. I think it’s this stature that has caused other Fleetwood Mac albums to be unfairly diminished. Fans love Tango In The Night and it’s universally recognized as a great album. Yet somehow I think it’s vastly underrated and hasn’t been given the recognition it’s due. We know the hits, but the album tracks are superb, including Track 9: “Welcome To the Room… Sara”.

In the U.S., the big hits were “Little Lies” and “Big Love”. Both of them are great, but I do like the minor hits (“Seven Wonders” and “Everywhere”) and deep cuts the best. “Welcome To The Room… Sara” is one of my favorites because, let’s face it, Fleetwood Mac is Stevie Nicks. The group lives and dies with her. So any song that puts her alto vocals at the forefront is going to be great. Of course, the stellar harmonies and instrumentation didn’t hurt either.

“This is a dream, right? Déjà vu.”

"BROTHERS IN ARMS" DIRE STRAITS (1985)

A great title track is par for the course when it comes to great albums. If the title track doesn’t cut it, what does that say about the album itself? This month, the Mental Jukebox will be playing some of my favorite title tracks – inspired by @NicolaB_73’s music Twitter challenge, #TopTitleTracks.

Dire Straits has to be one of the more underrated rock bands out there. Their sound may not be up everyone’s alley – including mine – but the musicianship and originality are admirable. Knopfler is a masterful guitarist that rarely seems to get mentioned among rock’s greats. But he should. You could point to many different songs for proof: “Once Upon A Time In The West”, “Romeo & Juliet”, “Sultans of Swing” and the title track from their 1985 album.

“Brothers In Arms” is my favorite track off the album. A phenomenal, slow winding epic, which is a rare find these days. The sparseness, bluesy guitar work and vocal delivery have a distinct Pink Floyd-esque vibe. Knopfler is no Gilmour, but he’s a genius in his own right. I have to tip my hat to Knopfler for his guitar solo on this track. It’s a thing of beauty that melts me every time. “Brothers In Arms” has become a popular song played at memorial services for military servicemen. I can only imagine what that solo does for the loved ones of fallen soldiers.

“In the fear and alarm You did not desert me. My brothers in arms.”

"PAISLEY PARK" PRINCE (1985)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

One of my favorite Prince songs from one of my favorite albums of his. Around The World In A Day doesn’t get the same accolades as Purple Rain, 1999 and Sign ‘o the Times. But it’s an album that has a lot of nostalgic significance for me. 1985, in general, was a banner year for album releases. So, for me, Around The World In A Day, will always be associated with that rich era. Many of the songs on the album – even the singles – were daring and experimental. It’s the Prince way. Case in point: “Paisley Park”.

The song didn’t chart in the States, and I think it’s because the masses couldn’t appreciate what Prince did here. A true pioneer of rock-driven pop, Prince didn’t let the guitar drown out the rest of the noise, but he picked his spots with flourishes and jams where his axe can make its presence felt. Still, the most underrated aspect of “Paisley Park” might just be Prince’s lead vocals. Few singers can give that melody the dynamism it needs to avoid a monotonous output, but Prince pulled it off. To no surprise.

“Admission is easy, just say you believe And come to this place in your heart. Paisley Park is in your heart.”

"JACK & DIANE" JOHN MELLENCAMP (1982)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

As an MTV kid, I heard a lot of John Mellencamp growing up. John Cougar, actually, as that was his artist name at the time. “Jack & Diane”, “Small Town”, “Pink Houses”, “Hurts So Good”, “R.O.C.K. In The USA”. His version of America was different than mine. But what kept me from changing the channel was that Mellencamp always told captivating stories of the everyday. He’s an underrated storyteller in the music medium.

“Jack & Diane” are just “two American kids growing up in the heartland”. The song is a personal portrait of, well, nothing in particular. “Oh yeah, life goes on, long after the thrill of living is gone.” And that’s the hook. Musically, it adopts a quiet-loud-quiet dynamic to give the song a bit more edge. The ultimate example of this is the bridge. And what a bridge it is. Thunderous drums and unyielding vocal harmonies for an unforgettable refrain.

“Suckin' on chilli dog outside the Tastee Freez.”

"JESUS OF SUBURBIA" GREEN DAY (2004)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

Super simple song structures. Basic three-piece layering. What Green Day may lack in terms of instrumental complexity they more than make up with Billy Joe Armstrong’s lyrical prowess. Truly an underrated songwriter, the Green Day frontman is the writer of two critically acclaimed rock operas. I’ve covered other songs from American Idiot on Mental Jukebox, and now’s the time to pick one more.

If “Jesus of Suburbia” feels somewhat constrained musically, maybe it’s because it’s solely based on four chords. Fortunately, the sonics help, particularly with Armstrong’s guitar riffs throughout the track. But, like most Green Day songs, the best part is the words. The character known as the Jesus of Suburbia seems not too far fetched. The lyrics paint a picture of a suburban antagonist through three movements – from angsty to idyllic to angsty once again over the course of nine glorious minutes.

“I'm the son of rage and love. The Jesus of Suburbia. The bible of none of the above On a steady diet of Soda pop and Ritalin.”

"THE BOYS OF SUMMER" DON HENLEY (1984)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

Like the Dude in The Big Lebowski, I never was a fan of The Eagles. But as an 80’s kid, the solo work of Don Henley and Glenn Frey are permanently etched into my childhood. Frey’s “The Heat Is On” and “You Belong To The City” ruled movie and television show soundtracks. Henley made some noise of his own – with “All She Wants To Do Is Dance” and, more notably, “The Boys Of Summer”.

It’s been many years since the last time I heard this song. Coming back to it, I have a renewed appreciation for the songwriting craft. Henley wrote the lyrics, but the music was composed by Mike Campbell from Tom Petty and the Heartbreakers. Every important music institution from the Grammys to Pitchfork agree that “The Boys Of Summer” is a fantastic song. Together, the song’s opening snare rim clicks and synth riff created one of the best song intros of the 80’s. But what makes the song so good – even after all these years – are Henley’s lyrics and the guitar work.

“Out on the road today I saw a Deadhead sticker on a Cadillac. A little voice inside my head said, ‘Don't look back, you can never look back’.”

"PRESSURE" BILLY JOEL (1982)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

“Pressure” is one of the first Billy Joel songs I heard. I was an MTV kid, and the visual storytelling of the song’s video added a whole new dimension to the song for me. It made me like the music that much more. Fast forward a few years and now I’m at Giants Stadium hearing Billy Joel perform the song live. It’s my first concert, so already the moment was euphoric. But hearing the song in a concert setting just brought me back to my childhood days.

The song is like a time machine. It’s not my favorite Billy Joel song (that distinction probably goes to “Miami 2017”). But it’s probably the most nostalgic track for me. Lyrically, the song is pure pop perfection. “Now here you are with your faith – and Peter Pan advice.” But musically is where the song takes some risks, showing Billy’s underrated prog tendencies. The bridge alone proves it, as well as the iconic synthesizer hook that seems more comfortable in a Broadway show than on radio. It’s these small experimental risks that define the song.

“All your life is Channel 13. Sesame Street, What does it mean?”

"SYNCHRONICITY II" THE POLICE (1983)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

As a member of The Police, Sting was many things. A captivating frontman. An underrated bassist. And a sharp, witty lyricist. His lyrics were like poetry one moment, prose in another. And the words he used in “Synchronicity II” are some of the most memorable lyrics in rock history. They have the power to make you laugh just as they’re able to keep you settled in awe. It was always all about the words.

“Synchronicity II” is a rock song. And it’s not a rock song. It’s written and performed as if it came from an opera composer. Sting, Summers and Copeland were always intelligent rockers, but they made something here that elevated new wave, post punk and all the other labels that we wanted to attach to them. “Synchronicity II” cannot be categorized. It can just be appreciated for what it is. A brilliant commentary on a bleak, mundane suburbia with a sound we’d never heard before.

“Another suburban family morning. Grandmother screaming at the wall. We have to shout above the din of our Rice Krispies.”

"DON'T YOU (FORGET ABOUT ME)" SIMPLE MINDS (1985)

This month, I’m looking back at movies and tv shows to rediscover songs that graced the screen. The scenes and the music are inseparable. They’re engrained in our heads and our hearts. And they’re proof that the best music we have doesn’t exist in isolation. It attaches itself to a moment or an experience. #SceneSongs

Movie: The Breakfast Club

Few movies turned the high school experience upside down better than The Breakfast Club. It introduced us to all the cliques, spent nearly three quarters of the movie going through all the stereotypes, and then it flipped the paradigm on its head. The movie ends with Anthony Michael Hall’s character reading his note to the principal out loud: “Each of us is a brain, an athlete, a basket case, a princess and a criminal.” Then one of the most iconic 80’s songs comes on as Bender walks through the high school football field, pumps his fist and we go to the closing credits. “Don’t You” was the exclamation mark for the whole movie.

Instantly recognizable from that first hit of the snare. “Don’t You (Forget About Me)” was a turning point in the commercial trajectory of Simple Minds. Up until then, they wrote a fair amount of great music, but not many in the States knew about them. The Breakfast Club changed all that. This was one of the original brat pack anthems. This was one of our anthems. No matter how you saw us. In the simplest terms. In the most convenient definitions. A brain. An athlete. A basket case. A princess. A criminal.

“DON'T YOU TRY AND PRETEND. IT'S MY FEELING WE'LL WIN IN THE END.”

"SHAPE OF MY HEART" STING (1993)

This month, I’m looking back at movies and tv shows to rediscover songs that graced the screen. The scenes and the music are inseparable. They’re engrained in our heads and our hearts. And they’re proof that the best music we have doesn’t exist in isolation. It attaches itself to a moment or an experience. #SceneSongs

Movie: Leon: The Professional

By the release of Ten Summoner’s Tales, Sting had veered from his rock roots with The Police and toward a softer, quieter musical expression. His previous record. Soul Cages was highly introspective. I much prefer the demeanor of The Dream of the Blue Turtles and Nothing Like the Sun to Soul Cages and Ten Summoner’s Tales. But there are some real treasures on the latter. In the wake of the grunge era, Sting turned to jazz and blues for inspiration – and even flamenco, as he did on my favorite track off the album.

If songs like “Shape of My Heart” prove anything, it’s that, no matter how slow or quiet the music gets, Sting’s exploration of different genres continues to inform his own approach. While The Police found inspiration from reggae and punk, “Shape of My Heart” dabbled in flamenco. It’s a beautiful, classical guitar-driven track with some of the artist’s finest lyrics ever written. Sting used the metaphor of a card player to describe life and love, which gave Leon: The Professional more gravitas as the song unraveled over the end credits.

“I KNOW THAT THE SPADES ARE THE SWORDS OF A SOLDIER. I KNOW THAT THE CLUBS ARE WEAPONS OF WAR. I KNOW THAT DIAMONDS MEAN MONEY FOR THIS ART. BUT THAT'S NOT THE SHAPE OF MY HEART.”

"SISTER CHRISTIAN" NIGHT RANGER (1984)

This month, I’m looking back at movies and tv shows to rediscover songs that graced the screen. The scenes and the music are inseparable. They’re engrained in our heads and our hearts. And they’re proof that the best music we have doesn’t exist in isolation. It attaches itself to a moment or an experience. #SceneSongs

Movie: Boogie Nights

Boogie Nights rode on the back of a vivid, throwback soundtrack — and Night Ranger was at the helm. Call it a glorified karaoke anthem or a cheesy power ballad, but the one thing “Sister Christian” has is that it sticks. Arguably the most memorable musical moment of Boogie Nights, it’s difficult to turn off the melody once the song comes on – and it becomes an impossible task when you get to the iconic chorus. I’m always sucked into its excessive, long-haired, hard rock world, for better or worse.

“Sister Christian” is a musical paradox to the Boogie Nights scene that it appears in. It’s steady, resolute, that’s what makes it a power ballad. But beyond the cymbal crashes and soaring 80’s guitar riffs, even the opening piano chords are unflinching. It’s the rock in a completely unstable scene that feels like it’s about to erupt at any given moment. The sounds of those gun shots are impossible for the characters to prepare for. It just happens. But with “Sister Christian”, you feel the groove and the rhythm, and you know exactly where it’s going – and when. Maybe that dynamic is what makes “Sister Christian” so likable beyond the movie, too.

“YOU'RE MOTORING. WHAT'S YOUR PRICE FOR FLIGHT IN FINDING MISTER RIGHT? YOU'LL BE ALRIGHT TONIGHT.”