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                                   questions/comments/concerns - email thomas.magnum at

                                                              all contents copyright Jake Thomas

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   (updated 6/30
/2019)                                      Photo Journal   (updated 6/30/2019)       
                Music Reviews   (updated 6/24/2019)                          Live Show Review Archives

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Photo Archive:       
 +++People+++         +++Places+++         +++Bands+++        
+++Mouse!+++         +++Burt!+++
Pointless Nonsense Archive:         +++Movie Reviews+++         +++Links+++
                                                                (None of these have been updated in ages)                                          
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***June Thirtieth Two Thousand and Nineteen***   

This bubble looks like a dick.  I don't even have anything funny to say about that.  


Instagrams -

Family life is ok most of the time.  Cary, NC.  

Fixer-upper.  Wake County (near Creedmoor), NC.  

This baby elephant walk lacks babies.  Asheboro, NC.  


Movies -

In the black for May! Watched 32 this month, to help slowly crawl out of the hole created in the first part of the year.  

Best of the month: Night Of The Juggler (1980)
Best stand-up of the month: Anthony Jeselnik: Fire In The Maternity Ward (2019)
Worst of the month: Garbage Pail Kids (1987) (even accounting for the unintentional(?) comedy of this movie, it's
still just really, really bad)
When you decide there's no such thing as too many boobs or too much Pink Floyd: More (1969)
Well, that was goddamn depressing: Of Fathers And Sons (2018)
The really-stupid-but-still-fun award of the month: Predator (2018)
Why were there more camp counselors than campers?: Madman (1981)
Dat ass: Helen (the mom) in Incredibles 2 (2018)
Amazing accent of the month: John Glover in 52 Pick-Up (1986)
I really thought there was a bear best friend in this until I remembered that was Grizzly Adams: Jeremiah
Johnson (1972)

The rest:
Star Chamber (1983), Sisters Brothers (2018), Into The Wild (2007), Dominican Dream (2019), Allins (2017), Seven
Minutes In Heaven (1985), Seven-Ups (1973), Out Of State (2017), Extremely Wicked, Shockingly Evil And Vile
(2019), Inside Daisy Clover (1965), Wine Country (2019), Venom (2018), Harvest Season (2018), Tangled (2010),
Well-Placed Weed: The Bountiful Life Of Ryan Gainey (2018), Warlock (1959), Shanghai Surprise (1986), Ingrid
(2018), White Boy (2017), High Plains Drifter (1973), Halloween (2018), Marlowe (1969)


Links -

For one: I'd never heard of this dude Gage Boyle, but holy fucking shit does he destroy everything in this video; for
two: it's hard to believe the state of skateboarding these days when you get this level of quality from a Real flow dude
making a wheel video; for three: skating to Dead Moon is always a good idea.

To my great delight I've been able to find a number of Alan Clarke's films on Youtube for free - in this case, the British
reform school classic Scum.  Ray Winstone is incredibly impressive in the lead role.  

I actually hammered out more music reviews than usual this month - I've really enjoyed a lot of new albums lately, with
the new Flaming Lips probably topping the list.             

There are a pair of photo journal entries involving our trip to Charleston and sights thereabouts.  


"I am not a toy - I was made for soups, salads, maybe chili, and then the trash."

Lydia Loveless - All I Know.  Pop country dominates the airwaves, and yet it's universally all top-shelf garbage.  
Then you have artists like Lydia who should be the poster child for a genre called pop country who can seemingly get
little purchase outside of her small niche audience.  The world just ain't right.  
Boy Crazy
I Would Die 4 U (Prince cover)

Mean Jeans - Allergic to Success.  Mean Jeans might be the dumbest band in all of rock-n-roll, and I wouldn't have
it any other way.  
Are There Beers In Heaven

Spray Paint - Country Thumbs.  From Austin.  No bassist.  Really goddamn enjoyable live.  That's all I got.  
Don't Get Sick

The Cure - Let's Go To Bed.  There's just no such thing as listening the Cure too much.  God knows I've tried.  
The Upstairs Room
The Walk

The Revelons - 97 Tears.  The Revelons were one of the most important lost gems of the powerpop era, often for-
gotten when folks talk about the greatest bands of that era, and that's a shame.  
Brighter Side
Lover's Dilemma
Outlaw Without a Gun

The Walkmen - Wake Up.  When it comes to this band I mostly only listen to their best effort "Bows + Arrows," but
"Everyone Who Pretended To Like Me Is Gone" is a damn fine effort in it's own right.  
We've Been Had

Harry Nilsson - Everybody's Talkin'.  What the hell can be said about one of the greatest songwriters of all time?
Without You

***May Thirty First Two Thousand and Nineteen***   

If you can conjure up a better time than this, I'd like to goddamn see it.  


Instagrams -

This is normal.  Cary, NC.  

Lulu vs. the sun.  Marion, NC.  

Sexyhorseposes dot org.  Blowing Rock, NC.  

Despite some harsh scores from the Russian judge, a gold medal.  Cary, NC.  


Movies -

For April I actually started clawing back towards the possibility of watching 365 movies on the year, a goal that I stated
isn't really a goal except if I'm keeping count it's obviously at least a little bit of a goal.  Or maybe I'm only counting this
month because I know I'm +3 this time instead of being behind.  

Best of the month (new): Den Of Thieves (2018)
Best of the month (already seen): Big Lebowski (1998)
Greatest unintentional comedy I've seen in five years: Lady Street Fighter (1981)
Worst of the month: My Friend Dahmer (2017) (how the hell do you make a movie about Dahmer so boring?)
Like, boom, for real: Basquiat (1996)
Didn't have to fast-forward through as many "new" songs as I thought I might: Metallica: Francais Pour Une
Nuit (2009)
Still the best one: Fast Five (2011)
Italian boobs!: Torso (1973)
I wish this movie was as good as the lead's hair: Superfly (2018)
Peak Treat: Deep Rising (1998)

The rest:
Final Exam (1981), Amy Schumer: Growing (2019), Night School (1981), Van Helsing (2004), South Park: Bigger,
Longer, And Uncut (1999), Tre Maison Dasan (2018), Gimme Danger (2016), Island Claws (1980), Central Park Five
(2012), Tully (2018), Jurassic World: Fallen Kingdom (2018), I Am Richard Pryor (2019), The Nun (2018), Seau (2019),
24 Hour War (2016), Eyes Of A Stranger (1981), OG (2018), Honest Man: The Life Of R. Budd Dwyer (2010), Proof
Of Life (2000), Charm City (2018), Prom Night 2: Hello Mary Lou (1987), Cinderella (1950), Mean Girls (2004)


Links -

If Max Geronzi can skate like this on one of these old ass boards (or at least old ass shapes), imagine what he can
do on a more modern set-up?  Or don't, and just enjoy a man able to do nollie 360 flips on a deck with no nose at all.  

I'm not sure if I loved this part from Nick Matthews called "Pavement" because the dude is good or because he
skated to Pavement's "Loretta's Scars" or...well, it's probably both.  Either way, I'm real into it.  

In non-skate video news, Night of the Juggler, the 1980 James Brolin schlock classic is available for the low
cost of nothing on youtube.  I'm a sucker for any movies set in NYC during this era with the gangs and the decay and
the shitty cops and general filth.  Plus the gal who plays Maria is real hot.  

A few music reviews this time...the Fontaines DC is top tits, see more about them in the live review below.             

Only one photo journal entry, the most popular "band photos" collection.


Pedro The Lion
With John Vanderslice
Cats Cradle Back Room

Back in my Bay Area days (which feels like yesterday but was actually 11 years ago, and that is DEPRESSING), you
couldn’t throw a cat at a small or mid-size indie rock show for which John Vanderslice wasn’t an opener.  It had been
a long time, but seeing him on stage was a real flashback to days gone by.  For me, Vanderslice was always one of
those performers who was just…fine, you know?  I didn’t dislike him or his music, but I was also never excited to hear
him.  This many years later, I suppose I enjoyed him a little more than I did in the past, though I still wouldn’t have been
angry if he wasn’t on the bill.  One big difference is instead of a full band, at this gig he just had his guitar, a Roland
drum machine of some sort (my favorite part of his set), and a jar of questions that he would periodically answer.  In
fact he might have talked as much as he played – this might be why it felt like he played for too long.  He seemed to
have a lot of fans in the audience though, so I might be in the minority with my middling feelings on a John Vanderslice

Pedro The Lion had a light show set up on the stage that, while not overpowering, looked goddamn ridiculous for a
stage the size of the Cat’s Cradle Back Room.  But other than shining directly in my eyes and burning out my retinas a
few times, it was more a humorous footnote than anything else, a rare sign of excess from a surprising source.  I saw
the first version of Pedro in the late nineties at the old Go! Studios, which just happens to be the club the Back Room
most often gets compared to by old people like myself, so it sorta feels like the band has come full circle.  Or maybe I
have?  Or both?  Or maybe the clubs in Carrboro are just really enamored with this small, two-story style of venue. 
Additionally worth noting: well over half of the crowd looked exactly like frontman (and let’s be honest, he IS Pedro The
Lion) David Bazan – a little overweight, bearded, middle-aged, and bald or on their way there (I’m 4-for-4 on each of
those traits).  It makes you wonder: does the crowd pick the band, or does the band pick the crowd due to some cos-
mic alignment from the god or gods or absence of god floating in the ether?  Speaking of god: to no one’s surprise,
there were a couple of “hip” pastors standing behind me talking shop about congregations or steeples or whatever
it is preachers do to fill their days.  That whole thing is very weird to me, but that’s a discussion for another day.

Hey, how about I stop talking about this useless nonsense and actually mention the performance?  If you’ve ever seen
Pedro (or any Bazan outing), you know you’re not getting a dynamic stage show…however you will get great songs
and some deadpan banter that is always much funnier than it has any right to be.  They played a lot of tracks from their
most recent record “Phoenix,” a terrific return to form after a 15 year hiatus (even if, let’s be honest, Bazan didn’t really
stop between those years and instead released solo records that more or less sound exactly like Pedro because it’s
all the same thing no matter what name he wants to put on the spine of the release).  Of course I would have loved
more older songs, but we did at least get “Penetration” and “Big Trucks,” two of his all-time best.  I would sacrifice a
small child to get an entire performance of the album “It’s Hard To Find A Friend,” for the record.  Still, it a was a good
time – I’m sure all the middle-aged shlubs in attendance would agree. 


With Fontaines D.C.

When this show was announced I was on a cruise in the Caribbean, but I was so excited that I bought their expensive
(and slow) internet just to make sure I could get a ticket, thinking it would sell out before I got back on land.  It ended
up not selling out until a few weeks later, but Idles sells out 3000 seat venues multiple nights in a row in the UK, and
I wasn’t going to tempt fate with a venue the size of Kings.

First though: Fontaines D.C. from Dublin, Ireland.  Kings doesn’t typically start their shows right on time but tonight
they did – and with the line to get into the club out the front door downstairs, I could only listen to muffled versions of
their first couple of songs.  Their set was only  eight songs total, but what they lack in longevity they make up for in in-
tensity.  They reminded me of a more punk, more modern version of the Fall, and I was way into it.  From a (somewhat)
local perspective, if you dig Patois Counselors you’ll probably be into these kids.  It was due to this performance that
I went back and listened to their debut album “Dogrel” again – seeing them live was the key to unlocking what is surely
one of my favorite records of the first half of the year, after somewhat ignoring the album on my first listen a few weeks
before this gig.

After nearly ten years of seeing shows there, Idles managed to produce the most animated crowd I’ve ever seen at
Kings – fist pumping, moshing, crowd surfing, and LOTS of singing along (I’m guilty of that last one myself).  It might
actually be the most active I’ve seen any crowd, regardless of venue, since some of those Archers of Loaf and/or
Superchunk performances at the Cradle in the nineties…back when youth was on the side of both myself and those
bands.  I had seen live footage of Idles online so I knew more or less what to expect from one of their performances,
but it still managed to blow my expectations out of the water.  The guitarist closest to me was stripped down to his un-
derwear before the first note was struck, and it felt like he spent as much of his time in the crowd (or standing on the
bar in the back of the room) as on the stage.  The other guitarist was frequently playing on his back on the ground, like
someone trying to perfect their impression of Marty McFly when he was pretending to be Chuck Berry.  All the while
singer Joe Talbot presides over the mayhem like a circus ringleader, a knowing grin on his face as he barks to the
crowd about class struggle and loving your fellow man.  I can say unequivocally his between song banter was the
most enlightened/”woke” I’ve ever heard, which isn’t surprising given the content of their songs from their two full
lengths, “Brutalism” and “Joy As An Act Of Resistance.”  Their set was mostly from these two records, leaning more
heavily on the latter – sing-alongs to fan favorites like “I’m Scum” and “Danny Nedelko” were worth the price of admis-
sion alone.  In Fugazi-like fashion (surely a HUGE influence on these guys), there would be no encore, as the band
would give it their all during regulation and without the need for overtime.   


Hot Snakes
With Mannequin Pussy

It’s pretty exciting to have the opportunity to see Hot Snakes live again, this time without the cross-country flight, but
rather a 20 minute drive.  This gig was originally scheduled last fall but got cancelled, and honestly I wasn’t holding
out much hope that it would be rescheduled – Durham is a long damn way from San Diego, after all – but sometimes
good things happen.  Gar Wood couldn’t make this show (and I assume the whole tour?), so instead Hot Snakes had
Night Marcher’s Tommy Kitsos fill in.  This would have been an ideal time to have a Night Marchers reunion, since the
Hot Snakes’ John Reis and Jason Kourkounis are also in that band, but we’d still be short one member…and that one
member would be the missing Gar Wood.  I guess at that point you’d have to get Hot Snakes’ front man Rick Froberg
to fill in for Gar, but then you’re just back to where you started – three-quarters of two original bands, or one Franken-
stein act.  Fuck it, we got half of Drive Like Jehu and Pitchfork on the stage too, how about all of them play and we
sort out the details later?  Where am I going with any of this hoopleheadedness?  Damned if I know.

Unfortunately Hot Snakes doesn’t always bring out the best people to their gigs – in particular there was this one lum-
bering, performative giant who spent the first half of the show draped all over me, no matter how much room I kept
giving him beside me.  He also spent a lot of time half on the stage – I think he was mistakenly under the impression
folks were there to see him and not Hot Snakes.  Another particularly out-of-hand character at one point grabbed me
by the throat in a half-assed attempt at a stage dive, but I still preferred this attempted re-creation of the end of
“Bloodsport” to Paul Bunyan and his constant need to be seen and felt (never mind his arms always in front of my cam-
era as he constantly pointed his finger directly in the face of Reis).  Despite all of this I still enjoyed myself because
goddamn it all, Hot Snakes are so fucking good at doing music, particularly live.  I wasn’t even mad that the vocals
were often way too low (hopefully that was just a front-of-the-stage problem and not true for the whole house) – on hits
like “LAX” and “Automatic Midnight” and “Suicide Invoice,” the crowd was doing plenty enough singing along to help. 
There was of course a lot of tracks from last year’s “Jericho Sirens,” an album that stands just as tall as anything they
recorded during their first pass as a band – “Six Wave Hold-Down” is the stand-out both on that record and live.  It is
here I will also lodge the same complaint I did the last time I saw them – the lack of “Mystery Girl” from their set is a
serious fucking bummer.  It’s their best song, and for some reason they’re allergic to playing it live…maybe Reis is
just over singing lead, but I don’t give a shit who sings it, I just want it sung.

The opening act was Mannequin Pussy, a band of which I had heard, but not sure I’d ever actually “heard.”  It would
be kinda hard to forget that name, after all.  Their music was mostly in the realm of heavy punk with some occasional
almost-hardcore moments, plus a few mainstream nineties-style “alternative rock” songs strewn into the set here and
there.  For these more mainstream tracks, it would be impossible not to compare the band to Hole, as Mannequin
Pussy singer Marisa Dabice seemed to be directly channeling the ghost of Courtney Love during these particular
offerings.  These slower songs were not my favorite part of their set, but then again I was never a Hole fan.  At the
same time, it’s this more “pop” direction that is most likely going to move the band up the ladder of success, if that’s
what they’re interested in.  Speaking of Dabice – she was a born performer.  It’s nearly impossible to take your eyes
off of her for the entire performance, particularly on the few songs when she put the guitar down and went into full “lead
singer” mode.  Also, I’m struggling to figure out how much I can even say about this performance without being an in-
considerate asshole in this day and age – let’s just say it felt quite sexual to me, whether or not that was her intention. 
Subsequently, the way she was moving on stage was very photogenic, but part of me felt wrong for taking photos of it
(obviously, I still did, because my desire for a good shot is greater than my shame).  She was clearly performing in
public for all to see, but still, something about it felt…private.  And I definitely felt like a dirty old man watching & taking
photos of it.  I’m not entirely sure what to think about this band after this show – they have a new record coming out on
Epitaph (who I thought only released mall punk) very soon, and I’ll be very curious to hear what it sounds like. 
Mannequin Pussy are at a minimum intriguing, which is always better than boring right?  And shit, they might even be


"Moral fibre? I invented moral fibre! Pappy O'Daniel was displaying rectitude and high-mindedness when that egg-
head you work for was still messing his drawers!"

Don Caballero - Stupid Puma.  Like all Don Cab, this song sounds sweaty.  

Elf Power - Everlasting Scream.  I've tried with Elf Power for years with little success, but I guess I just had to get in
my early forties and finally it clicked.  
Palace Of The Flames
Things That Should Not Be

A few songs from a couple of different Rilo Kiley albums.   I still prefer Jenny Lewis solo, for the record.  
Does He Love You
Don't Deconstruct
Love & War
Portions For Foxes
Wires & Waves

The Dogs - 79.  The greatest music to ever come out of France.  Don't come at me, Jacques Dutronc fans.  

The Jayhawks - Backwards Women.  Now that Gary Louris lives in North Carolina can I count the Jayhawks as a
local band?
Come Cryin' To Me
Gonna Be A Darkness

I've been on a real Pretenders kick lately - the first record especially is pure fire.  
Back On The Chain Gang
Don't Get Me Wrong
Middle Of The Road
Talk Of The Town

***April Thirtieth Two
Thousand and Nineteen***   

Rare unseen footage from early rough draft of the film "Alien."


Instagrams -

A rare outside nap for the delicate dandy.  Cary, NC.  

Galaxie 500.  Charleston, SC.  

Elton Lo.  Nags Head, NC.  

There are no words for this place.  South of the Border, SC.  


Movies -

29 movies in March - I almost got there!  I can't recommend the Nate Bargatze special enough - I laughed so much.  

Best of the month (new): High Flying Bird (2019)
Best of the month (already seen): Se7en (1995)
Best of the month (stand-up): Nate Bargatze: The Tennessee Kid (2019)
Worst of the month: Another Son Of Sam (1977)
I don't think that's a real dragon: Q (1982)
Why yes, I do have a little girl so this is playing all the time in my house: Frozen (2013)
Black boobs, white boobs: Black Mama, White Mama (1972)
Well, now we know what the song P.Y.T. was about: Leaving Neverland (2019)
This month in happy crying: Mister Rogers: It’s You I Like (2018)
That final climbing seen though: Free Solo (2018)

The rest:
It’s A Hard Truth, Ain’t It (2018), I Feel Pretty (2018), Love, Simon (2018), Piranha (1978), Maze Runner: The Death
Cure (2018), Moonshine County Express (1977), Casino (1995), Forgetting Sarah Marshall (2008), Super Troopers 2
(2018), Agnostic Front: The Godfathers Of Hardcore (2017), Entebbe (2018), The First Purge (2018), The Inventor:
Out For Blood In Silicon Valley (2019), Friday (1995), Broadcast News (1987), Nightmare Honeymoon (1973),
Wildling (2018), 306 Hollywood (2018), Pretty Woman (1990)


Links -

Only one skate vid this month - Shawn Hale had a part in the Birdhouse team offering "Beautiful Mutants" that was
just goddamn delightful - a perfect mix of weird and fun and gnar, one of the rare parts I've watched multiple times.  

A couple of music reviews this month - the new Ex-Hex records slays, to the surprise of no one.            

I finally editted all the snaps from our trip to SF and stuck them in the photo journal , as one does.  


Spiral Stairs
With Spider Bags
Cat’s Cradle Back Room

I was supposed to be seeing Hamish Kilgour (of the Clean) in the opening slot of this Spiral Stairs gig, but at some
point between when I bought the ticket and show time he had been swapped out with Spider Bags for reasons that
would never be given (though the obvious culprit is likely travel from New Zealand).  I’ve seen Spider Bags a shit ton
lately, but they’re still a damn fine back-up plan that I’ll never complain about.  This isn’t the first time I’ve said this, but
their sets seem to be getting shorter by number of songs, but the songs are getting longer and jammier in that great
seventies butt-rock way.  I keep waiting for a James Gang or Joe Walsh cover to make their way into the set list.  They
played pretty much everything I wanted to hear except for “Keys To The City,” so stop not playing that please, Mr.

This Spiral Stairs outing was very similar to the last time I saw him – new record to promote, guest appearance from
Pavement drummer Steve West (who lives somewhere in Virginia), a little sloppy, but for sure a lot of fun.  They kicked
things off with the opening track “Hyp-No-Tized” from the new album “We Wanna Be Hyp-No-Tized,” and Scott
Kannberg spent the entire time roaming the stage and adjusting the volume of the entire band’s amps like that mad
man Mark E. Smith (RIP).  I finally figured out where at least a couple of his backing band members come from: the
Posies and Snowglobe; maybe by the next time they come around I will have figured out the entire band.  The set was
mostly from the two most recent records, plus a Preston School Of Industry track and a Nick Lowe cover (“Truth Drug”
maybe?).  And, of course, we can’t forget the Pavement portion of the evening with West on drums: they played an
all-time favorite “Kennel District,” plus “Date With Ikea,” “Passat Dream,” and “Painted Soldiers.”  I really, truly do like
the Spiral Stairs records, I think Scott’s recent production is just as good as that of his former counterpart Stephen
Malkmus…but hearing Scott & Steve play Pavement songs is never not going to be the highlight of the evening. 


Teenage Fanclub
With Eric Bachmann & The Love Language
Haw River Ballroom

There is no tool to accurately measure just how excited I was to see Teenage Fanclub again.  Last time was five
years ago at Merge25, in the middle of the day in the blisteringly hot parking lot of the Cradle, and despite all that it
was still a blast.  This time around, with a better venue, a reasonable temperature, and me planted right at the front
trying to get a good picture or two?  It quite literally doesn’t get any better than that.  One major bummer is founding
member Gerard Love is no longer with the band – his harmonies were definitely missed.  That said, I doubt it’s tough
for a band of this stature to find adequate fill-ins for their touring ensemble – in this case, bassist Dave McGowan
(Belle & Sebastian) and Euros Childs (Gorky’s Zygotic Mynci) signed on to join Norman Blake, Raymond McGinley,
and long-time drummer Francis Macdonald in a fantastic performance of tracks from across the band’s entire 30
year catalog.  They played one or two songs from all nine of their full-length releases; the exception was my favorite
Fanlub record, “Songs From Northern Britain,” which got four(!!!) selections.  Highlights included “The Cabbage,”
“I Don’t Want Control Of You,” “The Concept,” “Alcoholiday,” “Baby Lee,” ...and also every other song they played, to
be completely honest.  The harmonies between Blake & McGinley were still spot on after all these years – it’s abso-
lutely impossible not to sing along when Teenage Fanclub is playing, people standing around me be damned.

While this gig was a few months earlier than the proper Merge30 festival in July, it was still considered part of the 30th
anniversary festivities - and consequently the label filled both opener slots with fellow Merge artists.  The Love
Language started the night, a group I hadn’t seen in ages though I’m not entirely sure why.  Outside of front man Stu
McLamb, I’m pretty sure the membership of this band is different every time I see them – this version was a five piece,
for those keeping track at home.  Eddie from Fin Fang Foom/Solar Halos was playing bass, which was a bit of a sur-
prise because I don’t think of him as a pop guy, but of course he did a fine job.  I must confess I only really know Love
Language's first two records, but I know them quite well – and luckily they threw in just enough of those older tracks to
hold my attention, including two all-time favorites “Providence” and “Lalita.”  The middle-aged guy standing near me
might have been more into this performance than any person I’ve ever seen at any show ever.  I wish I knew that level
of joy in my life.

The middle act was Eric Bachmann…hey, I’ve seen this guy before!  His band was the same three dudes he had
with him at the Merge Hopscotch day party last year, and they played many of the same songs (though the set was
slightly longer).  There was a smattering of old Crooked Fingers material (“Crowned In Chrome,” etc) but it was mostly
tracks from his last two solo records – “Murmuration” and “Dreaming” standing out as highlights.  Much like last time,
I was hoping Skylar Gudasz would show up to add backing vocals, but it wasn’t to be.  One of these days I’ll hopefully
get a repeat of that Hopscotch performance from a couple of years ago, but until then I’ll still enjoy basically any show
I can get out of the man, no matter the format, line-up, or songs played.   


The Cowboys
with Personality Cult
The Nightlight

I’ve been trying to see Personality Cult for ages now, and by “trying” I mean not leaving the house but silently cursing
myself for being suck a lazy pile of shit.  This bill was strong enough to motivate me though – that and the fact I hadn’t
seen live music in nearly two months.  The band is fronted by Ben Carr, who you may also know from Last Year’s Men
and Natural Causes and probably a bunch of other things (I feel like maybe I saw him in Paint Fumes at one point
too?), plus a couple of other dudes I didn’t know who may or may not have been twins.  What’s great about Carr is all
of his bands go in a different direction – Last Year’s Men did a twangy garage thing ala the Reigning Sound, Natural
Causes went down an angry Gary Numan synth punk path, and this latest act is just straight-up first gen catchy-as-
fuck punk ala the Buzzcocks.  They bashed out pretty much their entire self-titled record from last year in around 20
minutes – outside of having to borrow a guitar from the Cowboys after breaking two strings on the very first song, the
band was no muss, no frills, no banter, just rock.  I’m good with that.  More acts would be smart to follow that same

The Cowboys are a quirky power pop four-piece out of Bloomington, Indiana that single-handedly defy the stereotype
that nothing good ever came out of that state other than “Hoosiers.”  The band has a lead singer!  For some reason
that will never not be odd to me at any music venue outside of a large amphitheater or arena.  I always wonder – are
they still required to help carry gear in and out of the club?  I hope they at least help the drummer out, he’s got so much
damn shit to haul.  I’m not even sure where to begin with the bassist – it was like a spaghetti western extra collided with
a Madchester-era raver, but goddamn he did a fine job on those four strings.  The guitarist saw how high Ian Williams
plays his instrument with Don Caballero/Battles, and decided to literally take it up a notch (he was also super talented,
for the record).  Drummers are always weird so need to dwell there.    Their songs are catchy and enjoyable as they
are, but given the genre the hooks could use just a touch of work – maybe Robert Pollard needs to offer weekend
workshops to up-and-coming bands to help write a chorus that turns into an ear worm.  They were still a damn fine
group though, and I would definitely see them again – and not just because I would want to see what the bassist was


"I can say I definitely didn't do it because I know what I did or didn't do. But I cannot definitely say that about anybody
else, 'cause I don't definitely know."

As I am occasionally want to do, I made myself a mix of classic punk singles.  And as typically happens, at some point
later I post a subset of those punk singles here.  
Menace - Electrocutioner
Sham 69 - Borstal Breakout
The Art Attacks - I Am a Dalek
The Cigarettes - They're Back Again, Here They Come
The Misfits - Attitude
The Saints - This Perfect Day
The Scabs - Amory Building
Xpress - Stop, Start (And Go Back Again)

Aimee Mann - Going Through The Motions.  For years the only Aimee Mann I knew was the "Magnolia" soundtrack
(though I know it very, very well), but of course pretty much everything she has recorded is great and I'm stupid for tak-
ing so long to dig into her catalog.  
King Of The Jailhouse
That's How I Knew This Story Would Break My Heart

Ramones - I Just Want To Have Something To Do.  Hey, more classic punk!  I hear these guys are going to do
great things.  
I Wanna Be Sedated
She's The One

The Mary Onettes - Love's Taking Strange Ways.  Fuck your Abba, this is the greatest band Sweden has ever
Silence Is A Gun
Your Place

TV On The Radio - Tonight.  TVotR were always better live than recorded, but that's not to say the recordings don't
have their charms.  
Wolf Like Me

Whatever Brains - Conficker.  The demise of WB is still the greatest cultural loss of the Triangle of the last decade.  

***March Thirty First Two Thousand and Nineteen***   

Spring is officially here - I hope everyone has prepared accordingly.  


Instagrams -

I hope their first dog is a masculine dog.  Cary, NC.  

Old town is old.  Charleston, SC.  

Shout at the devil.  Cary, NC.  

The clientele matched the sign.  Florence, SC.  


Movies -

Best of the month: Minding The Gap (2018)
Worst of the month: Little Italy (2018)
Even as a grownup this is still funny as shit: Monty Python And The Holy Grail (1975)
What if "Stranger Things" was about a serial killer instead? Summer Of 84 (2018)
Could have used more gunfire: Gauntlet (1977)
Most unbelievable fight scene of the month: John Cusack vs. Jackie Chan in Dragon Blade (2015)
Lifetime achievement in boner music: Teddy Pendergrass: If You Don’t Know Me (2018)
I don't think these guys are really as old as they appear: Uncle Drew (2018)

The rest:
Bird Box (2018), Eighth Grade (2018), Solo: A Star Wars Story (2018), Beatles: Eight Days A Week-The Touring
Years (2016), Dumb: The Story Of Big Brother Magazine (2017), Abducted In Plain Sight (2017), BlacKkKlansman
(2018), Brexit (2019), Rumble: The Indians Who Rocked The World (2017), Hale County This Morning, This Evening
(2018), United Skates (2018), Dave (1993), Ray Romano: Right Here, Around The Corner (2019), Three Identical
Strangers (2018)


Links -

Crailtap may not have the cache in the skate world they once did, but they still manage to find some incredible rippers
to rep their brands.  James Capps drops this part called "Homage" for their show brand Lakai.  

This Control Room vid has just about every rider from Habitat and Alien Workshop, and all of them kill, but the top
draw is Silas Baxter Neal dropping one of the best parts he's ever released.  

The music reviews have gone nearly barren...I've got a metric shitload I need to write though.          

A couple of photo journal entries, one of band photos and one of a couple of mini-sets: a trip to see Thomas the
Tank Engine and the yearly visit to the State Fair.


"Hey, listen, I want somebody good - and I mean very good - to plant that gun. I don't want my brother coming out of
that toilet with just his dick in his hands, alright?"

No explanation needed for most of these classics, and I'm too lazy to write them anyways.  

Fad Gadget
State of the Nation

Iron Maiden
2 Minutes To Midnight
Aces High
Rime Of The Ancient Mariner

Matthew Sweet
Dead Smile
Morning Song
The Ocean In-Between

Roxy Music
More Than This
Over You
Virginia Plain

Thin Lizzy
The Boys Are Back In Town

Tom Petty & The Heartbreakers
Angel Dream
Asshole (Beck cover)
Walls (Circus)

Van Morrison
Call Me Up In Dreamland
If I Ever Needed Someone


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