
Wednesday afternoon, April 18, 2012, 1:28 PM.


... Did you know there's a new all-female Soundgarden cover band in Seattle, named Bleed Together? It's true! They play at Neumo's on Monday, April 9th.
This got me thinking about the all-female Slayer tribute band I've always wanted to start, called Slay'Her (no offense to Slaywhore, who formed in 2005.) I had no idea there were so many of these lady-metal bands—look at this list! Then cast your vote below.
This one's for Alithea. And in honor of the Aquabats' new TV show (premiering March 3rd at 1 pm EST on the Hub).
Fuck being too cool for songs about guacamole and skateboards.
Can someone please explain the true meaning of the lyrics in this song? Thanks! Love, Kelly O
This kind of makes my heart hurt:
Eighteen days after Sinead O'Connor and Barry Herridge vowed to stay together until "death do us part," the newlyweds have had a change of heart.
She has one of the most beautiful voices in the world, and the only time we ever hear about her anymore is when something embarrassing happens to her. It's a goddamned shame, is what it is.
Go Charlie, go Charlie, go-go, go Charlie. He really was the original party rocker... nobody rocked a house quite like he did.
h/t to Frankie Crescioni

Anthony Kiedis wrote an autobiography 7 years ago called Scar Tissue. In case you haven’t gotten around to reading it yet, allow me to fill you in.
It’s a well-known fact that Anthony Kiedis, of extreme Red Hot Chili Pepper fame, is a dingle. A lot of “rock stars” lack self-awareness due to fame, money, and people telling you how amazing and talented they are, when maybe they aren’t. So it’s no surprise that Scar Tissue is mostly a detailed account of the women and drugs that Kiedis has plowed through (YAWN) but I’m going to come right out and say something controversial… maybe it wasn’t entirely his fault. I know, I know, how could I even say that? Why would I ever stick up for someone who wrote the line "What I've got you've got to get it put it in you?" Well, there is one person who out dingles Anthony Kiedis, and that person is his father, Blackie Dammett (formerly Spider, formerly John Kiedis, more on that later).
I finished the Meat Loaf autobiography the other night. It's called To Hell and Back and it was "written" in 1999 or so. The text is printed in at least a 16 pt. size and most of the pages are filled with copyright free gothic clip art illustrations. When I turned the last page a wave of self-loathing washed over me.
Ever since Emily Nokes' muckraking Megadeth exposé two weeks ago, we've been plowing through rock biographies like elementary school students with Weekly Readers. Birdsall from Don't Stop Believin' Records dropped off the execrable To Hell and Back along with the 1995 Boy George biography Take it Like a Man. We've been fighting over the Boy George book, it's that good. I think the mark of a good music biography is to take a subject that you didn't care at all for and make them appealing enough to want to watch videos of them on YouTube. Which is certainly what I've been doing with mid-1980s Culture Club clips for the past week.
I've read some music biographies in which I liked the book but grew to abhor the subject. Warren Zevon, for instance. I couldn't get all the way through Korn singer Brian Welch's Save Me from Myself. I liked Hammer of the Gods & Morrissey and Marr: The Severed Alliance.
We need to know what to read next. What are your favorite music biographies?
I had that moment the other week where I saw a Pitchfork article about something I was sort of embarrassed about liking, and then I felt less embarrassed about it. Stupid, right? I know.
That thing was K-Pop. James Brooks explains:
South Korean pop culture (often referred to as "Hallyu", which means "Korean Wave") is a fresh-faced phenomenon. The record companies that currently dominate the country's music industry date back only to 1995, which means that K-Pop, as a genre and a business, is probably younger than you are. It certainly sounds young—even if you ignore the fact that most K-Pop groups are made up of teenagers, there's a wild, enthusiastic spirit evident in the way their producers gobble up and spit out sounds like Britney/Gaga Eurotrance, Auto-Tune, rapid-fire rap, swooning Final Fantasy strings, breakbeats, and industrial-strength synths. This music can be flat, derivative, and sometimes really, really annoying. It can also deliver the kind of senses-shattering, hands-in-the-air euphoria that's a defining marker of great pop.
He embeds a bunch of videos, which are really part and parcel of the music's appeal, including two of my favorite K-Pop songs, 2NE1's "I Am the Best" and GD&TOP's "Knock Out."
It's my favorite kind of absurd, energetic joyfulness, this sticky-sweet pop, filtering American pop culture through a Korean lens and into the blender of their music business, and what comes out is two dudes with multicolored eyebrows and hair riding Segways and sitting in plastic butt chairs while they rap, or a bunch of skinny pop stars walking poodles in fetish gear and wearing ice cream hats and Misfits back patches while they shoot all their records with machine guns. I always feel like "Um, what just happened??!" after watching. Which is refreshing. Also, it should be said: K-Pop makes excellent workout music.
A few years ago, I started hearing about a fan genre called "Twi-Rock." Similar to the way the genre "Wizard Rock" produced “Harry and the Potters," Twi-Rock gets its lyrics from the themes/heroes from Stephenie Meyer's Twilight series. I became obsessed with the whole Twi-rock phenomenon because, despite the series’ weak female characters and thinly veiled religious values (Meyer has wiped Mormonism all over those books,) I couldn't help loving the fact that they were mostly nerdy teenage girls writing weird acoustic rock songs based on books (for instance, the guitar, bass and tambourine combo in one of the "Bella Cullen Project" videos I watched can almost be a weird love child of Kum-bay-yah generic Christian acoustic and The Fabulous Stains).
So I guess Twilight couldn’t be all that bad if it was encouraging young girls to be passionate enough to write their own music within the safety of their romantic/vampire book sub-culture, right? For a while, bands with names like "Bella Cullen Project,” “Forks High School", "Bella Rocks," ” and "The Twilight Music Girls" started getting national attention, playing major chain bookstores, the Hot Topic Tour, and getting shout-outs from the likes of MTV.com and Seventeen Magazine.

[Illustrations by Emily Nokes]
You know Dave Mustaine, right? The strawberry blonde mega-babe who founded Megadeth? Great news. He wrote an autobiography a year or so ago called Mustaine: A Heavy Metal Memoir and I was so excited to read it! Rock bios are all I want to read lately, and Dave Mustaine has fascinated me ever since I saw his embarrassing interview in the embarrassing Metallica documentary, Some Kind of Monster.
Can you even believe Dave Mustaine STILL holds a grudge against Metallica for kicking him out 28 years ago? Even after he went on to form Megadeth? Rather than going on to manage a Guitar Center, Mustaine made Megadeth and Megadeth made it huge! As one of the “Big Four” pioneers of thrash metal (Metallica, Megadeth, Anthrax, and Slayer), Megadeth sold millions of records, made millions of dollars, and comes in only second to Metallica of the “Big Four” in commercial metal success. But it’s that “comes in second” that has been haunting poor lil’ Dave Mustaine his whole career. And he will never, ever, shut up about it.
Ever since my mother talked me out of buying Adam Ant's Prince Charming in favor of Men At Work's Business as Usual, buying and having records has always been very important to me. I was eight years old when I got hooked, facilitated by the encouragement of my mother's own collection (which included a lot of Blue Oyster Cult & Lou Reed's Rock & Roll Animal) and those of her myriad boyfriends. I remember one giving me a copy of Be Bop Deluxe's Sunburst Finish, which I never listened to because I hated the cover, and another giving me a copy of Funhouse by the Stooges. That was ages ago, I've since adopted a theory that the first Stooges record you hear is most likely to be your favorite.
I mark a lot of my memories by the records that I was listening to at that given time. I've spent hundreds of times more money on music than I've even spent on clothing. My allowance for a few years as a youngster was a record a week at The Shoppe in Berea, Ohio. I remember the moment that I saw the Keep it in the Family EP by Black Flag on one of those trips. I can still smell the Nag Champa, it was the first place that I realized that people who work in record stores tend to be mega-grumps.

I'm sorry to get all POLITICAL on Line Out! No really, I'm sorry.
I like to start my Mondays off with coffee and an enthusiastic wag off. (NSFW? I don't fucking know. My litmus test for what's work appropriate has been whittled down to, "Is my coworker's face visible in that cock shot?"):
This fine example is a study in brevity—it's the soul of wit!—and perfect timing from both the heckler and the hecklee.

Mark Gormley stands tall, stoic and proud, with his right leg cocked just so, as to make you think you're looking at a masterpiece resting on an easel. It would be difficult to pick a man like Mark Gromley out of a line-up of tourists on the Seattle Underground Tour, and even harder to distinguish from your own dad. But when Mark Gromley sings, you know his voice, much as you know Geddy Lee's when you hear Rush, or Mick Jagger when you hear the Stones.
Beloved by Pensacola's cool and flamboyant former radio DJ/ Uncharted Zones host Phil Thomas Katt (who also produces Gormley's low-budget videos), Gormley became an internet sensation in 2009 for his magnificent songwriting and video accompaniment.
Gormley is reclusive man, who is more likely to step in front of the green screen than out under the Florida sun, but his songs are truly a reason for this season, all hot, majestic, and triumphant. What you are about to see is "very, very intense."
Here's something I love: A brand new mix featuring all your favorite teen pop anthems from the '90s, entitled "Teenpop, Lock and Drop Vol. 1" from DJ Bedbugs! Hello, Britney! Hello, Christina! Hello, Toni... and more. Download the entire fun thing here.

Sorry for my naiveté, and/or the late pass, but someone just sent me this song, and it's freaking me out. It's got all my favorite things: guys in underwear-and-socks, push-up bras, push-up pantyhose, Four Loko in champagne flutes, and CHESTER'S® FLAMIN' HOT® Flavored Fries. It's also sorta the challenger of rap clowns with rape whistles. Lady here, she'll do all the raping. And the yankin. And the twerk'in.
H/T to King Randall William Phillips