R.I.P. Ray Manzarek. Told me crazy weird stories when I was in high school about a guy named Jim. I was way into it. Still love The Doors.
I can’t get enough of this album.
Politicians should avoid cultural references at all costs, and especially attempts at rock and roll hipness. It only demonstrates the break that must take place when you choose to leave the real world of sex, drugs and rock and roll that normal humans live in and enter the vapid shit-filled storm of politics:
Huntsman also defended name-dropping the late grunge rocker Kurt Cobain during the debate in reference to Mitt Romney’s book, No Apology. “That just sort of came to me,” Huntsman laughed. “You can’t say ‘no apologies’ on the 20th anniversary and not have Kurt Cobain come to mind.” (A 20th anniversary issue of Nevermind, an album by Cobain’s band, Nirvana, was just released.)
Yes, you can say “no apologies” and not think of Kurt Cobain. Why? Because the song is called “All Apologies.” When you are, as the song says, “all apologies,” that means you are very apologetic. That would be the opposite of having “no apology.” Does it sound like I am speaking to a young child? It’s kind of like the difference between a fair-minded liberal mindset (to a fault) and the hard-line conservative mindset (I am an asshole and proud of it!).
Also, the 20th anniversary of Nevermind does not contain the song “All Apologies.” It is, of course, from the (superior, in my opinion) album In Utero, from 1993. But other than that, I can see why the reference popped into Mr. Huntsman’s politician-addled brain: he’s a typically dim-witted Republican candidate for president trying to sound cool for the 10 people under 40 who might consider voting for him.
It’s Lolla weekend and for the first time I will not be going. Last year I only went last minute on the last day and this year I just didn’t have much interest in the lineup. Screw it, man. Instead, here is a nice treat from me to you, a collection of Doom Demos, C-sides, musty dusties and the like: Danny Doom’s Bandcamp. It’s the stuff I did back at the turn of the century when I was alone–bandless–and trying to figure out what was next. You can find little tidbits on each song and occasional lyrics. Whatevs, it’s free, check it out!
Wicker Park Fest.
Carrie Brownstein, Wild Flag.
Janet Weiss, Wild Flag, ex-Sleater-Kinney, amazing drummer.
Mary Timony, ex-Helium and Carrie, ex-Sleater-Kinney, rock out.
Carrie Brownstein, star of “Portlandia!”
This fest was ridiculously packed. Glad I was only there for Wild Flag.
The Bean, gateway to the clouds.
Millennium Park, Pritzker Pavilion.
Blonde Redhead, sounding beautiful as usual. Not sure why I didn’t move closer to get better pix. Musta been the kid with me.
Stands for Giggle Out Loud.
Ted Leo interviewing Michael Stipe. It’s interesting to hear him talk of early R.E.M. and the “voice” and how it has evolved. The way he describes it, the mumbling and low mixed vocals have given way to a clarity and power that is all for the better. And I, of course, feel the exact opposite. I understand where he’s coming from, or how he feels that it has improved with time, but it is the biggest problem I have with R.E.M. post-Bill Berry–besides the post-Bill Berry part.
The new album has its moments, certainly better than a lot of the garbage that the band has released over the past 10 years…but I feel like an understated, jangly, even pretty record, would be more what I would hope from this band in their older age. A mix of Fables and Automatic for the People (without “Everybody Hurts”).* But alas, it is not to be and shall never be again.
* The song “Uberlin” from the new album sounds like it could have been an Automatic track, almost ripping off “Drive,” but then it shifts into the most awkward and unnecessary bridge–why? It feels like they ran in through a music biz exec’s brain and he spit out this awful advice–and they took it.
My Rolling Stone magazines come quick in the mail and I slowly catch up to them on the pot, so I just recently finished the John Lennon interview from a few issues back. Apparently RS doesn’t like to share these things online so I can’t link you to it (unless you sign up, which I have not), but there are some things in there that will really tear at you. Or, at least, me. Too many things to transcribe but…like this:
RS: You could also have your own late-night TV show–like “The Captain & Tennille.”
JL: Yeah, of course we could. John and Yoko might do it one day. We often talk about that. It might be fun. But there’s time, right? Plenty of time … It will be fun, won’t it, to start 1981 like 1968?
The interview took place on Friday December 5, 1980.
Well, this is it. What else can be said? This could be the greatest moment in Chicago Bears history…defeating the Packers and heading to the Superbowl. Oh. My. God. I can’t stand it!
But first there is the business of show. Milk at Midnight will return to the stage at Quenchers (Fullerton & Western, Chicago, IL) tonight for a very special acoustic performance, on what will no doubt be the coldest night of the winter. It always happens that way. We vowed to never play shows in the dead of winter but…our good friends in Magnetosphere and the Trilobytes have asked us to open up for them, so it will surely be a warm and inviting atmosphere surrounded by millions of beers and smiling faces. Who wants to stay home on a night like this anyway?
And no, I do not drive a Suburu.
Radiohead for Haiti, full concert on YouTube.
Check out Loud Loop Press for a new Milk at Midnight song, “This Old Grand Machine,” from our forthcoming album, tentatively titled “The Boy That No One Knows”:
According to MaM member Danny Doom via e-mail, the new album is a concept piece or a rock opera about, “an aging, once-famous daredevil looking for redemption…” The track, “This Old Grand Machine”, does indeed throw back to the classic rock opera-sound of The Who’s Tommy or even the Decemberist’s last record The Hazards of Love with big riffs and dueling male-female vocals, featuring the talents of friend of the band Vanessa Harris.
The references warm my heart, thank you, Loud Loop Press!
No one is more bummed than me to read this sadly accurate review of Blonde Redhead’s new album “Penny Sparkle.”
you’re left to wonder whether 2010 will produce a more profoundly boring album from a band who actually had a reputation to uphold.
They play here on my birthday and I’m hoping it’s not “Penny Sparkle”-heavy, but it probably will be. Oh, Kazu!
I love this Springsteen tune from “Nebraska.”