NeoTune iPod Dockable Headphones I suppose if you didn’t have any pockets, or hands or self-respect, these might be a viable alternative. But I’ll assume that you have at least one of those three things, and invite you to join me in mocking this.
S:The best part was when I told her I'd get to work on cleaning if she'd shut up. Then she started up again and I stopped working. She asked why I wasn't working any more and I literally said, "I thought I told you to shut up."
me:Ladies and Gentlemen: S.
me:She needs to settle down
There is clearly some big issue bothering her and she is making a big deal out of little stupid things
S:She started trashing the living room and throwing around present stuff, and I said, "So you nag about ridiculous stuff and you're violent too. Did I marry my mom or my dad?"
It was amazing
me:Wow. That is just priceless
S:But we'll be ok. I'll pretend to be sorry in a couple of hours.
Yoni Wolf @ Apple Store (2/28) What is most memorable about this performance was the once-off cover of “This is the Day.” I remember the hymn from church growing up but Wolf’s version that day was dark and haunting and still sticks with me. (via ipickmynose)
i wish that instead of talking, we could send each other mix cds and get to know one another without words and concepts and images fucking us up. just songs that describe who we used to be during each season and how we always feel late in the evening better than we ever could.
“Misunderstood” – Wilco (Words/music: Jeff Tweedy and Peter Laughner, available on Being There, Reprise 1996)
When we start to frame this decade in music, particularly after we have some distance from it, Wilco’s narrative will be one that will represent the decade in many ways. At the turn of the century, Wilco was a quirky band caught between the “power pop” and “alt-country” genre sections at the local record store. By the end of the decade, the record store is on its last legs and Wilco stands as widely respected, alternative “powerhouse” teetering on the mainstream. In the years between, Wilco was the underdog screwed over by major label restructuring, the phoenix reborn as a mix of experimentalism and traditionalism, a band struck with personal and interpersonal strife, and a growing reputation as a live juggernaut. While it’s a bit of a generalization, Jeff Tweedy went from virtual obscurity to cult worship to voice of the indie establishment. This, of course, is only the tip of the iceberg, as Wilco lends itself to a discussion of the changing technology in the music industry (form streaming Yankee Hotel Foxtrot without a label contract to all of the bonus materials offered with each record and DVD), the gentrification of indie rock, and the formation of a new blueprint for success outside of the mainstream.
All of this to say that the past decade will ultimately be known as the decade that Wilco got weird and got popular. Like most thumbnail sketches, it’s reductionist logic, but in this case it’s neglecting a significant part of the band’s catalog. Wilco’s “weirdness,” for lack of a better word, goes through 1999’s subtly dark Summerteeth and (at least) back to “Misunderstood.” On Being There, an album that generally stays close to its country and blues-rock roots, “Misunderstood” provides a strange introduction. The guitars sound watery at times, gnarled at other points, and fuzzed out when neither of those descriptors fit. Amidst this haze of guitar, Jeff Tweedy sits at the center of it. With all the chaos around him, Tweedy alternates between G and D chords, quotes an obscure Midwestern punk band, and tosses off lyrics of suburban frustration, paranoia, and existential angst. Five years later, Tweedy would be lauded for an album full of weird sounds, tales of broken communication, and a darkly melodic streak. However, in 1996, “Misunderstood” was the first harbinger, both of Tweedy’s potential as songwriter and of the internal demons that nearly silenced his pen. In 2009, after their most straightforward record since, well, Being There, it’s easy to peg Tweedy and his band as complacent, but hearing the way Tweedy still barks out the final line in “Misunderstood,” especially when he hangs on “nothing” like a broken record, that the same creative mind that brought the spotlight in the early part of the decade was always there. If nothing else, tracing Wilco’s past only suggests that many turns remain in their path before Tweedy becomes entirely understood. I’m excited to see what story he writes this decade.
actually taking the first and sixth place (lol) for Day & Age
Now that Rolling Stone has posted our lists of the100 Best Albums and 100 Best Songs of the decade (as voted on by a panel of more than 100 industry experts and artists), and our readers have had their say in our Decade-End Readers’ Poll, we’re looking at what got left behind: first up, the 2000s’ most underrated albums. The Rock Daily faithful were adamant that the Killers got short shrift this decade, voting the band’s 2006 LP Sam’s Town the most criminally unappreciated of the era. Find out where the Yeah Yeah Yeahs, Raconteurs and Blink-182 charted here:
1. The Killers – Sam’s Town 2. Pearl Jam – Pearl Jam 3. Kings of Leon – Because of the Times 4. R.E.M – Accelerate 5. Radiohead – Hail to the Thief 6. The Killers – Day & Age 7. The Raconteurs – Consolers of the Lonely 8. Yeah Yeah Yeahs – Show Your Bones 9. Beck – Guero 10. Muse – Black Holes and Revelations 11. Pearl Jam – Backspacer 12. The Mars Volta – De-Loused in the Comatorium 13. Them Crooked Vultures – Them Crooked Vultures 14. Guns n’ Roses – Chinese Democracy 15. Alice in Chains – Black Gives Way to Blue 16. Franz Ferdinand – You Could Have It So Much Better 17. Green Day – Warning 18. Wilco – Wilco (The Album) 19. Cake – Comfort Eagle 20. Blink-182 – Blink-182
“Can’t liberals be just as stiff-necked as Lieberman? Sure, they could. But liberal members do have an incentive to compromise—the tens of thousands of people who die every year for lack of health insurance. The leverage that Lieberman and other ‘centrists’ have obtained on this issue (and on climate change) stems from a demonstrated willingness to embrace sociopathic indifference to the human cost of their actions.”—Matt Yglesias
“The modern man’s hustle I dig it, I shuffle
Feed me your troubles and need me to cuddle
Bundle up in my mitten and coat
As cold as it gets I keep your winter afloat”— Atmosphere | Modern Man’s Hustle (via otherhiphop)
Kent E. Hovind is an American Young Earth creationist and conspiracy theorist famous for his creation science seminars that aim to convince listeners to reject modern theories of evolution, geophysics, and cosmology in favor of biblical creation. Hovind’s views are criticized by the scientific community at large and even some fellow Young Earth creationist organizations like Answers in Genesis.
Various criticisms have been made of Hovind’s dissertation, including charges of incompleteness, low academic quality, poor writing, poor spelling, and ungrammatical style. The lack of quality was described, in part, by the fact that “the pages are not numbered; there is no title; of sixteen or so chapters in the index only the first four are finished; misspellings are rampant (“Immerged” for emerged and “epic” for epoch “tentable” for testable are three examples); and the single illustration was apparently cut out of a science book with scissors and fastened to the thesis with glue or tape. (wiki)