Don Lindich | Tribune News Service (TNS)

Vimifuso charger proves its worth: I recommended the Vimifuso 140W USB charger as a gift idea last year. I’ve had a chance to use mine for several months now and have been so pleased I feel I did not do it justice before, so I am correcting that now.

So many devices we depend on every day need USB charging, including headphones, Bluetooth speakers, computers, household gadgets of all types and, of course, tablets and phones. The six-port Vimifuso makes charging them so very easy, all from a single device, and it offers other benefits I did not fully appreciate until I had more experience with it. It also checks all the quality and safety boxes with FCC, UL and CE certification, which makes recommending it even easier.

Vimifuso USB Charger. (Don Lindich/TNS)

I love that it uses an AC cord to connect to the wall, and is not a heavy, bulky device with retractable prongs that is prone to fall off the wall socket. Plug the cord into the wall, connect the charger and you are ready to go. I travel quite a bit and this has proven especially handy in hotel rooms. I have enough cord to put the charger on the nightstand or on the bed with me, and then my USB charging cables extend the reach so I can keep my devices close at hand. There is also no worry about yanking the charger off the wall when picking up the phone or tablet. It is a sinking feeling when you are at a trade show and wake up to a phone at 10% rather than 100% because charging stopped. That never happens with the Vimifuso.

There are four USB-C ports and two standard USB-A ports, so it is unlikely you will ever experience a situation the Vimifuso cannot handle. This versatility has paid off in ways I did not expect. I was with a friend who was using his MacBook to catch up on emails as I charged my iPad and he said, “Darn, I am about to run out of power and I forgot my cord.” Looking at the MacBook and seeing the USB-C power port, I said, “I’ve got you covered” and connected the Vimifuso’s 65-watt USB-C port to his MacBook with a USB-C cable. My friend looked at the charger and said, “What is that thing? Something tells me I have to get one.” He travels even more than me, and he has one now too.

The Vimifuso charger sells on Amazon, and when I decided to revisit it I was expecting to recommend it at the $45 price. When I checked Amazon it was 30% off with a checkbox coupon, which I hope holds for a while for the sake of anyone who wants one. For about $30 you will be a very happy camper, especially if you travel, charge lots of devices or have multiple family members charge their phones from a single outlet or charger.

Q. We disconnected from cable TV and installed an antenna. The TV is fine, but there is no way to access a guide to see what programs are broadcast, or what channel or times. We would also like the ability to record. Can you recommend something to remedy our problem?

—R.G., Sheboygan, Wisconsin

A. There are multiple HDTV tuners available that will record on a USB flash or hard drive. I have used the Mediasonic HomeWorx models successfully for years, and they feature an on-screen program guide. The free phone and tablet app TV Listings Plus is phenomenal and I highly recommend it to TV fans. Learn more about TV Listings Plus at guidepluslabs.com.

(Contact Don Lindich at www.soundadvicenews.com and use the “submit question” link on that site.)

©2024 Tribune Content Agency, LLC

One of the best aspects of photographing Aretha Franklin — as Matthew Jordan Smith did frequently between 2005 and 2014 — was that she sang during their sessions.

“I had a playlist of my favorite Aretha Franklin songs, and she’d often start singing along — the only artist I’ve ever worked with who did that,” says Smith, 60, who’s just published “Aretha Cool: The Intimate Portraits,” a collection of his Franklin photos named after that playlist.

Photographer Matthew Jordan Smith recently published “Aretha Cool: The Intimate Portraits,” a photo book drawn from his many sessions with Aretha Franklin. (Photo courtesy of Matthew Jordan Smith)

“I remember the first time I used (the playlist), the one song comes on and she starts humming along to it, then she starts singing to the song — ‘You’re All I Need to Get By,’ one of my all-time favorite ones. I’m 4, 5 feet in front of her and I kinda forgot where I was and I started singing along with her.

“She stops me — ‘Jordan, baby, don’t sing.’ She said it firmly, actually, but the whole room burst out laughing. Then she starts laughing and the whole time I’m shooting everything. I love the pictures of her laughing that day, full-on, the whole room letting loose. Every time I hear that song, I think of that day.”

Those photos are among the dozens of images, and memories, that populate “Aretha Cool.” It’s a book Smith — who previously published “Sepia Dreams: A Celebration of Black Achievement Through Words and Images” — says he felt a call to create, the impetus coming from the death of Franklin’s longtime companion, Willie Wilkerson, from COVID-19 in April 2020.

“He’s the first person I know who passed from COVID, and I started thinking about how much things had changed, people we lost and the importance of legacy,” explains Smith, who remained close with Franklin until her death in 2018. “I thought: ‘OK. This book must be done. People have got to know about this side of her, from a photographer’s point of view and how it was for me working with her …’ cause there was nobody like her, and nobody’s really talked about or covered this last stage of her life.”

Smith — born in Brooklyn and raised in South Carolina, where his father exposed him to photography — was already a well-established high-end fashion and celebrity shooter when he met Franklin, whose work had appeared in international magazines and advertisements. When the Queen of Soul was looking for a new photographer in 2005, her publicist, Gwendolyn Quinn, recommended Smith, who had just published “Sepia Dreams.”

“I did my research,” he notes, and upon discovering that Franklin favored yellow roses, he sent her some with a note: “Looking forward to a great shoot. Looking forward to meeting you.”

“Then, before I got out there — we were shooting in Detroit — she called me on her phone, from her private number,” Smith recalls. “I’m like, ‘Who is this calling me,’ and then, ‘Oh, snap, it’s Aretha calling me!’ We talked about life, food. She said, ‘No photographer ever sent me yellow roses before.’

“Then we met and had a great shoot in Detroit, and we just kept going from there.”

Smith did make one minor faux pas during that first session, however. “The playlist — this was before I made the Aretha playlist — had Mariah Carey on it, and it looked like (Franklin) wasn’t into it,” Smith remembers. “I asked her who her favorite new artist was, and she said, ‘Me!’ And then I asked her again — new artist — and she said, ‘Me!’ Then it hit me. … Put some of her music on! Of course!”

This is one of Matthew Jordan Smith’s early portraits of Aretha Franklin. It’s included in his new book “Aretha Cool: The Intimate Portraits.” (Photo courtesy of Matthew Jordan Smith)

He went on to photograph Franklin on several occasions, in Detroit and New York — including a hat-oriented shoot following her performance of “My Country Tis of Thee” at Barack Obama’s first inauguration in January 2009. The images over the years were used for promotional and personal use and in a variety of publications and media outlets. They spoke on the phone frequently as well — even after Smith moved to Japan, where his wife is from, eight years ago, which initially made Franklin mad until he promised her “it’s only a flight.”

“A lot of stars are not comfortable being in the camera,” says Smith, who last photographed Franklin in 2014, though subsequent sessions were scheduled but canceled due to her deteriorating health. “There’s a facade that comes up. That’s normal, but she was not that way. She was very real from the jump and you could feel that, and you don’t get that every day with a lot of people, especially in Hollywood.

“She just had this very real feeling about her from the first moment I met her — no pretension, nothing, and I loved that. That made me feel more comfortable and made me feel like being myself. I think that’s what made us get along so well.”

Smith still has the iPod with the Aretha Cool playlist and has posted it on Spotify. Not a day goes by that he doesn’t think about Franklin, he says, and he’s hoping the book gives readers some sense of how special he found her to be.

“I want people to see the other side, the real side of her that I fell in love with,” Smith explains. “She was like an aunt that everybody knows. Everybody has an Aretha in their family. In Black America, we all have an Aretha in our family. I’ve shot so many people, but never felt the connection like I had with her. I’ll always miss her.”

Writing about movies means succumbing to occasional bouts of reductive-itis, inspired by that great bonehead critic Emperor Joseph II in “Amadeus,” who told Mozart nice job on his latest composition, with one caveat: “too many notes.”

Folks, this week has been one of those bouts. First, it was the new “Ghostbusters: Frozen Empire” (verdict: too much “heart” and digital mayhem, not enough funny). And now, streaming on Prime Video, we have another ’80s-derived throwback, the “Road House” remake with Jake Gyllenhaal.

The 1989 Patrick Swayze edition, costarring Kelly Lynch, Sam Elliott, Kathleen Wilhoite and, singing along with “Sh-Boom,” Ben Gazzara, was nothing but ridiculous trash. And fun. Calling it “human-scaled” makes the old “Road House” sound as if it took place somewhere on planet Earth, among humans, which isn’t really true. And yet who says we can’t enjoy a sustained feat of complete fraudulence, if the spirit’s right and a movie takes some downtime for love scenes between beat-downs?

The new “Road House” has no time for sex. Compared with the old one, it’s 30 times bloodier and one-third as fun. Still, there are things to recommend it, namely the Irishman.

Conor McGregor, left, and Jake Gyllenhaal in “Road House.” (Laura Radford/Prime Video/TNS)

The action has been relocated from outside Kansas City to the fictional Glass Key, Florida. Screenwriters Anthony Bagarozzi and Charles Mondry establish bouncer Dalton as a suicidal, scandal-clouded Ultimate Fighting Championship middleweight with more baggage than Swayze’s Dalton ever lugged. Traveling by Greyhound, Dalton has come to the Florida Keys to take a job at the beachfront bar owned by Frankie (Jessica Williams). She needs a legit set of abs to control her insanely unruly customers and keep the peace.

That Dalton does, violently. Director Doug Liman escalates the bone-crunch melees with propulsive crimson relish, albeit with tons of editing cheats and medium-good digital trickery. The narrative obstacles in “Road House” carry over from the ’89 movie; there’s a corrupt crime family running amok, with Billy Magnussen amusingly detestable as the primary scumbag. Once again, a discreetly smoldering local doctor (Daniela Melchior) patches up Dalton after his initial run-in with the local rabble, and sees this mysterious, courtly stranger as potential date-night material.

The old “Road House” dripped with casually rampant misogyny disguised as examples of the ungentlemanly bad behavior Dalton must vanquish. Most of that ambiance is gone here. So is any trace of actual sensual anything. The central “romance” this time barely registers. Reductively, you could put it this way: Liman’s “Road House” gets the job done, but it’s the wrong job, and the ratios are off. When movie fantasies like this reduce the sexual current between its leads to nil, the emphasis on crazier and crazier brutality starts feeling not just jaded, or bloodthirsty, but a drag.

On the other hand, you know who’s great in this? Conor McGregor, best known as an Irish UFC star, making his feature debut in “Road House” as Knox, the special guest assailant the bad guys hire to dispose of Dalton. McGregor’s a born entertainer, delightfully overripe and dementedly committed to every close-up and every strutting threat of grievous bodily harm. His bare bottom gets a wittily star-making entrance of its own, in a traveling shot that goes so long, it’s basically a “Road House” spinoff.

Gyllenhaal has his moments; he finds some wit in Dalton’s zingers, and in his scenes with the local bookstore owner’s teenage daughter (Hannah Love Lanier), the star gets a pleasant “Shane” vibe going. To be sure, “Road House” succumbs to its own bouts of reductivist critique, or self-critique. At one point the scrappy, baseball bat-wielding kid summarizes the stranger’s arrival in Western movie genre terms: “Local townsfolk send for hero to help clean up the rowdy saloon.” Then she adds: “You know. That crap.”

“Road House” — 2 stars (out of 4)

MPA rating: R (for nudity, violence, alcohol use and foul language)

Running time: 1:54

How to watch: Now streaming on Prime Video

Michael Phillips is a Tribune critic.

Linda Gassenheimer | Tribune News Service (TNS)

Passing by the fish case in the market, I noticed some very fresh swordfish. I decided to buy some and complement the richness of the fish by adding the aromatic flavors of lemon, rosemary, and garlic.

Orzo is a rice shaped pasta. It gives a lighter feel than larger pasta. Fresh spinach gives a vibrant color and adds flavor. I added it after the orzo is cooked so that it just wilts in the heat of the pasta.

HELPFUL HINTS:

Other short-cut pasta such as penne or elbow can be used.

2 crushed garlic cloves can be used instead of minced garlic.

You can use 2 teaspoons sugar in place of honey.

COUNTDOWN:

Prepare all the ingredients.

Place water for orzo on to boil.

Mix sauce ingredients and make swordfish.

While swordfish cooks add orzo to boiling water.

Finish swordfish recipe.

Complete orzo recipe.

SHOPPING LIST:

To buy: 1 lemon, 1 container minced garlic, 1 bunch fresh rosemary or 1 bottle dried rosemary, 1 bottle honey, 2 6-ounce fresh swordfish steaks, 1 bottle capers, 1 box orzo, and 1 bag washed, ready-to-eat spinach

Staples: olive oil, salt and freshly ground black peppercorns

Rosemary lemon and garlic swordfish

Recipe by Linda Gassenheimer

zest of 1 lemon

2 tablespoons lemon juice

1 1/2 tablespoons olive oil, divided use

1 teaspoon minced garlic

2 tablespoons fresh rosemary, 2 teaspoons dried rosemary

2 teaspoons honey

2 6-ounce swordfish steaks

1 tablespoon drained capers

Mix lemon zest, lemon juice,1 tablespoon olive oil, garlic, rosemary and honey together in a small bowl for the sauce. Place a medium-size nonstick skillet over medium-high heat. Add the sauce to the skillet and cook 2 minutes. Remove the sauce to the bowl and add the remaining 1/2 tablespoon oil to the same skillet Add the swordfish steaks to the skillet. Saute 4 minutes. Turn steaks over and spoon the sauce over the swordfish. Cover the skillet with a lid and cook 4 minutes. A meat thermometer should read 130 degrees. Place the steaks on two dinner plates and spoon the sauce and capers on top.

Yield 2 servings.

Per serving: 335 calories (47 percent from fat), 17.6 g fat (3.6 g saturated,7.6 g monounsaturated), 66 mg cholesterol, 34.2 g protein, 10.1 g carbohydrates, 1.7 g fiber, 760 mg sodium.

Orzo and spinach

Recipe by Linda Gassenheimer

1/4 pound orzo

4 cups washed, ready-to-eat spinach

2 teaspoons olive oil

Salt and freshly ground black pepper

Fill a large saucepan 3/4 full of water. Bring to a boil. Add the orzo and boil for 9 minutes. Drain and return orzo to the saucepan. Stir in the spinach until it begins to wilt. Mix in the olive oil and salt and pepper to taste. Divide in half and serve with the swordfish.

Yield 2 servings.

Per serving: 265 calories (19 percent from fat), 5.6 g fat (0.8 g saturated, 2.3 g monounsaturated), no cholesterol, 9.2 g protein, 44.7 g carbohydrates, 3.2 g fiber, 51 mg sodium.

(Linda Gassenheimer is the author of over 30 cookbooks, including her newest, “The 12-Week Diabetes Cookbook.” Listen to Linda on www.WDNA.org and all major podcast sites. Email her at Linda@DinnerInMinutes.com.)

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