Category Archives: Music/Popular Culture

“See You in Hell” and the dominatrix garage: The Lost Patrol drops a new video, and btw, the CD is fantastic

The new CD from The Lost Patrol, Driven, was released on May 1, and I’ve just about played it to death ever since. This is their ninth album (I think – if there’s more I missed them and need copies asap) and there’s something a little uncanny about their ability to continue mining such a distinct sound without getting stale and

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Saturday Video Roundup: the Spanish Inquisition Mashup Edition

I’m a sucker for wack-ass mashups that no normal human being could possibly have seen coming. Nobody expects the Spanish Inquisition Mashup, bitches. Make sure you stick around for the whole show – I saved something special for last. You didn’t expect a Nirvana/Europe mashup, I’ll bet. Nobody expects Metallica meets Herbie Hancock. Adele vs. The Eurythmics? Okay this is

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ArtSunday: You can take the boy out of the working class, but can you take the working class out of the boy?

As I’ve noted before, I grew up working class in the South. My neighborhood, my school, my family and friends, it all oscillated between “redneck” and “white trash,” and yes, there’s a difference. I wrote not long ago about the challenges facing those of us trying to climb the socio-economic ladder when nothing in our upbringing had taught us which fork

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Saturday Video Roundup: Natalie Maines, out on her own

Natalie Maines has a new solo CD set to drop Tuesday. It’s entitled Mother, and it’s simply wonderful. If you’d like a preview you can stream it at NPR. I think we can now safely call Maines a former C&W artist. Mother, which is largely a collaboration with Ben Harper and his band, lies solidly to the Americana side of the

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PSY’s “Gentleman” vs. The Lost Patrol’s Driven: Nickelback wept

Rhetorical Question of the Day: In anticipation of the new song release from K-Pop star PSY, we anticipated that: a) he’d boldly break off  to forge new and innovative artistic directions b) he’d pimp that “Gangnam Style” formula like a four-dollar whore at the Republican National Convention I thought so. For my part, I wondered how long it would take

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Tuesday Morning RAW: last night’s Izod Center crowd could spell trouble for WWE’s creative team

First off, if you were among the crazies at the Izod Center for Monday Night Raw last evening, we salute you. Sweet baby Jesus on a pogo stick, what were you people on? For those who missed the goings on in East Rutherford, this was the Raw on the night after WrestleMania, and what showed up may or may not have

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TunesDay: Phoenix and Aline are making 2013 a big year for French Indie Pop

We haven’t historically regarded the French for their rock & roll. Wine and cuisine, sure. Beautiful women, absolutely. But Europe’s greatest pop music has always tended to emerge across the channel. Then, in 2009, a little band from Versailles called Phoenix blowed up with Wolfgang Amadeus Phoenix and one of the year’s hottest Indie singles, “Lisztomania.” Phoenix had been around for a

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TunesWeek: ’90s video and Spike Jonze

Part 4 in a series. It sometimes seemed like MTV in the 1990s was little more than a video résumé for one Adam Spiegel, aka Spike Jonze. He seemed to be the guy directing all the damned videos, and some of the era’s most inventive concepts were his. Here’s a sample. Up first, let’s watch some television. Like, that time when

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Ten years ago this week the Dixie Chicks controversy erupted: I’m still not ready to back down

To announce that there must be no criticism of the President, or that we are to stand by the President, right or wrong, is not only unpatriotic and servile, but is morally treasonable to the American public. ― Theodore Roosevelt On March 10, 2003, at the Shepherd’s Bush Empire theatre in London, Natalie Maines stepped to the microphone and said this:

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TunesWeek: ’90s video goes political

Part 2 in a series. The Reagan/Thatcher years were marked by an utterly bizarre shiny/happy pastel sheen spread liberally across a decidedly apocalyptic doom. Listen to songs like “Everybody Wants to Rule the World” and “Forever Young” and “It’s a Mistake” (and watch the videos). The aesthetic seemed to be “we’re all going to die in a nuclear holocaust, of

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