This Arch Street tunnel off of Suburban Station is so fucking weird. I discovered it earlier this year, and every time I take the train to or from the city, I've been making a point to go through this tunnel. I continue to be the only person in here every once in a while. Some people occasionally go halfway and then go through a different tunnel, possibly to the apartments above us, I'm not even sure. There was also a dude smoking a fat blunt last week, and I don't blame him for choosing here, it's fucking deserted. And now the ceiling is collapsing? I know nothing about where I am, where I walk through, and yet I continue to walk. Because... I don't know, because it's peaceful, probably. Work consists solely of people pestering me every second of the day, bookended by joining the huddled masses of dead-eyed commuters. So it's nice to just be by myself for like two minutes. Even if it's in some creepy tunnel.
Puke on Your Birthday
A poet reads his crooked rhyme, holy, holy is his sacrament.
Friday, August 28, 2026
In My Place 239
August 27, 2026. 39.95451, -75.1672. See the updated map here. See all the blog posts here.
This Arch Street tunnel off of Suburban Station is so fucking weird. I discovered it earlier this year, and every time I take the train to or from the city, I've been making a point to go through this tunnel. I continue to be the only person in here every once in a while. Some people occasionally go halfway and then go through a different tunnel, possibly to the apartments above us, I'm not even sure. There was also a dude smoking a fat blunt last week, and I don't blame him for choosing here, it's fucking deserted. And now the ceiling is collapsing? I know nothing about where I am, where I walk through, and yet I continue to walk. Because... I don't know, because it's peaceful, probably. Work consists solely of people pestering me every second of the day, bookended by joining the huddled masses of dead-eyed commuters. So it's nice to just be by myself for like two minutes. Even if it's in some creepy tunnel.
This Arch Street tunnel off of Suburban Station is so fucking weird. I discovered it earlier this year, and every time I take the train to or from the city, I've been making a point to go through this tunnel. I continue to be the only person in here every once in a while. Some people occasionally go halfway and then go through a different tunnel, possibly to the apartments above us, I'm not even sure. There was also a dude smoking a fat blunt last week, and I don't blame him for choosing here, it's fucking deserted. And now the ceiling is collapsing? I know nothing about where I am, where I walk through, and yet I continue to walk. Because... I don't know, because it's peaceful, probably. Work consists solely of people pestering me every second of the day, bookended by joining the huddled masses of dead-eyed commuters. So it's nice to just be by myself for like two minutes. Even if it's in some creepy tunnel.
Thursday, August 27, 2026
Never Seen It #330: Pink Flamingos
Oh, I love you, blog. I love you more than anything in this whole world. I love you more than my own filthiness, more than my own hair color. Oh God, I love you more than the sound of bones breaking, the 500 movies I've never seen before, the sound of death rattle—even more than the sound of my own shit do I love you, blog.
1972
John Waters
Zoom: August 25, 2026, 9 PM to 10 PM
Participants: Joe, Sam, Stef
The smallest Zoom so far, for perhaps the smallest movie. Smallest movie in terms of, I dunno, production and budget and scope of the world that it built. But a pretty big movie in terms of impact, I'd argue. Pink Flamingos is a cult film, to start, so it gradually built up notoriety and reputation. It's now considered—generally, not universally—to be good art, so much so that it's sometimes—not universally, but sometimes—considered one of the best movies of all time. That's not because it's easy to watch. That's because it's interesting to watch. It's saying something, and it makes you feel something. What the "something" is might be up to you, or you could just whittle it down simply to "shock value." Regardless, c'mon, it's interesting. You can't deny that. From there, we're just gonna have to try to agree one whether interesting movies are good because they are interesting, even if they are also horrifying.
Some more thoughts we had during our discussion:
- Some comparisons that were discussed: Yoko Ono, The Room, Alice in Wonderland porn parody, Scary Movie, The Blair Witch Project, Looney Toons, Jackass (meet me in the comments if you want to know why these were compared/contrasted)
- Was this funny? Was it supposed to be?
- Funny parts: the mailing address and fight with mailman; the discussion about whether all chickens might disappear
- The Edie stuff was actually quite sweet, or maybe just in comparison to the rest of the film
- Interesting how the "filthiness" kept getting more and more intense
- When was the last time you felt while watching a movie what you felt while watching this movie?
- The logistics of killing a chicken on camera; how this felt dangerous because the actors were really doing these things!
- So many Baltimore accents!
- I made a big point about how flashing one's dick would be boring but flashing one's dick with deli meats tied to one's dick is INSPIRED (I'm talking about moviemaking, not the actually act, you sicko!!!)
- Tied for #211 on BFI Sight and Sound's Best Movies of All-Time list from 2022, tied with such movies as Raiders of the Lost Ark, The Deer Hunter, All About Eve, Brief Encounter
- The actors are committed, this is an actor showcase basically
- Context is important to understanding this film.
- What does this film mean to the queer community?
- Is abject art still art?
- Is Divine a character, an actor, or both? (Probably both.)
I missed writing down a lot of discussion points, but this felt like a good movie to talk about in general. A lot happening, and most of it is weird, and most of it is discomforting. And it's important to talk about your feelings, especially in this context, and "I felt uncomfortable" is a surprisingly easy one to talk about.
Your conclusion is going to come down to whether you agree with the following statement: "A good movie makes you feel something." If that's enough, then you'd agree Pink Flamingos was a good movie. I'm in that camp. I'm giving it 4 pukes out of 5. I have a strong suspicion that Stef and Sam would not agree with this grade.
How about you? What grade would you give this? Or would you be like Roger Ebert, refusing to even assign a grade, so shocked were you that this movie could even exist in our world?
(NEXT TIME: A small group gets together to watch A Knight's Tale, which I know has Heath Ledger, and that's about it.)
In My Place 238
August 26, 2026. 39.95356, -75.16654. See the updated map here. See all the blog posts here.
Sometimes a huge day hits you out of nowhere, one of those days that involves very high highs and very low lows and some self-exploration and some guideposts for the future and then also three spare minutes where you're staring at a random art installation that involves a bunch of graffiti and a toilet. I'll remember most of today forever, but I'm documenting the toilet art, because that's what I took a picture of.
Sometimes a huge day hits you out of nowhere, one of those days that involves very high highs and very low lows and some self-exploration and some guideposts for the future and then also three spare minutes where you're staring at a random art installation that involves a bunch of graffiti and a toilet. I'll remember most of today forever, but I'm documenting the toilet art, because that's what I took a picture of.
Wednesday, August 26, 2026
schmill schmeth #28: "Vintage Eddie"
A review of S02E06 of the American sitcome 'Til Death.
Enter gym manager. "Enter" being figurative, as it's really "exit." As in exit the gym, out the front door, at the end of the night. After the last of the gym patrons have ended their workout. There are two people out front still, as he's locking up. A man and a woman. Smoking cigarettes. Which is not really supposed to be happening in front of the gym, but the manager lets it happen. It's the end of another long day. The gym manager goes home, to another story. He's not involved in this one. In this one, the man and the woman remain.
Enter gym manager. "Enter" being figurative, as it's really "exit." As in exit the gym, out the front door, at the end of the night. After the last of the gym patrons have ended their workout. There are two people out front still, as he's locking up. A man and a woman. Smoking cigarettes. Which is not really supposed to be happening in front of the gym, but the manager lets it happen. It's the end of another long day. The gym manager goes home, to another story. He's not involved in this one. In this one, the man and the woman remain.
We—the audience of this extended soap opera—have met each of these characters before. The man is Dennis. He's now married to Emelia, the editor of an unnamed magazine marketed toward women. We last saw him as a kid, years ago, when he was a good student in Grace's second-grade classroom. You could tell then and you can tell now that Dennis is a good egg. The woman talking to him and smoking a ciggy next to him is Kristine, who was first introduced via her admittedly jejune AIM conversation with an ex-boyfriend Trey. In my world, Kristine is married to her high school sweetheart Hunter (I was at the wedding), but in this world, the fictional world where everyone is obsessed with the American sitcome Til Death, Kristine lost touch with Hunter years ago, ended up having a baby with Trey, and then lost track of him too.
Dennis and Kristine are acquaintances, not friends. They only know each other from these meetings that they attend weekly. There is nary a spark of romance or even lust. That's not really something that happens at these meetings. Especially these specific meetings, here at the gym. Neither of them had ever heard of an AA meeting that takes place on treadmills and ellipticals. As far as I know, this might be the only place in the country that has them. A weird focus on fitness in this town. Alcoholics Anonymous—not sure if you've ever been to one, I've been to a few in my day, and can draw assumptions based on those few hours spent in church basements—is largely inclusive, and, as you might suspect, they typically draw a crowd that can barely walk up the damn steps without getting winded, let alone finding themselves in spitting distance of a goddamn treadmill.
Yes, yes, Dennis and Kristine are both alcoholics. Who isn't these days? Now that the stigma has largely been erased, there's even a way to wear it like a badge of honor, if you play your cards right. And if you're trying to stay sober, and you're hitting the gym, and you're talking to others about your problems and helping others with theirs and staying true to yourself and attempting to live your best life under the tough circumstances of this rough society that we live in? Well, goddamn. No reason to complain, I say.
If I had to describe the dynamic between these two characters, at least as we've seen them, here in front of this gym post-workout/AA on a weekly basis, I would probably say that Dennis is something of a mentor to Kristine. "Sponsor" I believe is the word typically used, though I didn't use it because neither one of them has said the word and Kristine hasn't even considered whether she even needs a sponsor at this point. But these weekly post-gym cig chats really do mostly consist of Kristine expressing some supplementary thoughts that she had during the AA sharing time and Dennis thoughtfully responding to them. Let's listen in for a moment or two.
"I think it just got to me, when Alan was talking about trying to give it away. That's what he kept saying, right? 'Give it away.'"
"That's a pretty well-established AA concept. How it's easier to handle the intense longing for the substance of choice but removing the focus from yourself and giving it away to others, to your community, you get it."
"Yeah, sure, I get it, but I think I just struggle with the underlying concept as it relates to me. It feels selfish, to give it away. If I keep the pain all for myself, then I'm protecting others, which is selfless. Right?"
"Ehhh, I think it's just the mothering instincts that you've built up since you had your little guy. How old is he now?"
"Seven."
"Wow. That's an age, ain't it?"
"Sure is. And you're probably right. I spend so much of my time trying to protect him from the world that we live in that I struggle with the idea of letting go of that role, of letting others protect me. It's tough."
"You're tough, is what it sounds like."
"Don't flatter me."
They both chuckle at this point, almost like there was an inside joke passed between them, but I missed it. A couple drags of their respective cigarettes in silence, then:
"You ever see the American sitcome Til Death?"
"Kristine, we talk about this every week. Everyone I know watches the show. I watch the show. Of course I watch the show."
"Okay, but you've seen the episode with the expensive wine bottle?"
"Jesus christ, I already see where you're going with this." Dennis is smirking as he says it though.
"Right. So tall guy... fuck I always forget his name. You know, the dude from that made-for-TV movie, the one with the guys in the stands of Wrigley Field? You know who I'm talking about. I think his name was Marvin in that movie. Oh, Bleacher Bums! But the tall guy. Tall Marvin."
"Got it."
"Marvin and his hot wife go to yet another birthday party that the piefucker creep is having for himself, co-hosted with character actress Kat Foster in the restaurant with one other guy plus five faceless extras who are facing away from the camera."
"I've seen it, Kristine, you don't need to explain the plot to me."
"Fine. So we get to the end of the episode, and everyone's interests have suddenly aligned, all the cards are on the table, the four main leads are about to make a fortune off some random expensive bottle of wine sold on eBay. They spend the episode jockeying with lies and deceit and self-centeredness, and when they all agree to collective lavish in the muck and mire of group foul play, the wine bottle is smashed, and their hopes at making a quick buck are snuffed out completely."
"You're about to ask what would have happened if they had continued to lie and deceive each other and allowed one victor."
"Exactly, would that victor still have that wine bottle, unsmashed?"
"I don't see that as the point, though. I think you have it backward. What if everyone had been truthful to each other the entire time? What then? They'd be sipping cocktails on the beaches of Greece together, instead of schlepping through another stressful Monday at dead-end jobs. But the truth takes courage sometimes."
"I hear you. I feel that courage in that room in there. Or, feel it in the gym, rather. Courage to share truth. I just don't see these Til Death characters as having that courage."
"That's the whole thing. That's the tension that creates humor. These are selfish bastards, and that's why the studio audience laughs—that they are selfish, that they meet their downfall because of that selfishness."
"Whereas if they gave themselves away, allowed their little community to flourish, then maybe they'd reach salvation, instead of sink into the pit of despair of your average American sitcome."
More silence, some more ciggy puffs into the night air. Then:
"Did you know Alan has 20 years sobriety this week?"
"Jeez, no I didn't. I'll be honest, sometimes I can't understand what he's saying."
"Well, it's tough, through the thick Texas drawl of his. Plus the whirl of the dozen or so treadmills all circled up."
"True."
"I'm just curious whether Alan watches Til Death."
"Everyone does!"
"Not everyone, Dennis. There are some holdouts. Maybe Alan is one of them. Maybe he arrived at his 'giving it away' conclusion through lived experience. What kind of horrors do you think Alan's seen? I know he mentioned something about a gnome, I almost didn't believe it. Just makes you wonder how people can hear this kind of thing and watch these types of TV shows and still continue to be selfish in their day-to-days. If you watched the wine bottle of episode of Til Death, how can you possibly live the same way? Wouldn't it make you sick?"
"Kristine, you're still not doing it. You're still not giving it away yourself. Try it sometime."
"Easy for you to say. That beautiful wife of yours waiting at home for you. And how many years sober now, eight?"
"You think that came easy for me?"
"I... no, I guess it didn't?"
"No, it didn't. Those are a hard-earned eight, Kristine. But I wake up every day, and I live, and then I go to sleep and wake up and do it all over again. And then I come here and hop on the elliptical and try to give it all away. The pain, the regret, all of it. We're all here together, putting all our pain in the collective pot, letting it sit there, handling that load all together."
"So the treadmills and ellipticals are a metaphor?"
Dennis chuckled. "It's all a metaphor, I think. You can even pretend that the figurative language is part of the giving-it-away, if you want."
"I don't know what I want."
After a while longer, they said brief goodbyes, and Kristine got into her car and drove away, lost in thought. Dennis hopped on his bike (like, actual bike, not stationary cycle), and took that long ride home to that loving and supportive wife of his. Neither story is over, but that's all we're privy to tonight. I know you might be thinking: well Wayne, that wasn't much of a story. What was the point? I hear you. What I'd propose to you now is that you should just be patient. You won't get all the answers in any single one of these pop-ins that I'm pulling back the curtain on. It takes time. But, like those diligent elliptical-riding alcoholics, if you keep showing up every day, you'll gradually see results. You put your whole self into this shit, and that's where the real change occurs. When you put your whole self into it, then we can handle that load together.
For now, let's give this episode a 5 pukes out of 5, and call it a night. See you next time. Maybe we'll check in with that gym manager, see what he's up to, and what he thinks about the great American sitcome Til Death.
In My Place 237
August 25, 2026. 40.08148, -75.0902. See the updated map here. See all the blog posts here.
tryin to split that diff between not having ne responsibility and not lettin it seem like i don't care, cause i do care, i jus don't want the responsibility. don't make me feel good when the kid asks me do you like the cat, of course i like the cat, but not enough that i wuld evr be responsible to take her to the vet, or clean up her shit or whtevr. if you want hermit crabs thats fine just dont expect me to wet the sponge, so 2 speak. im very upfront with my limitations as a person, and im at my limit do everything i can for three kids and a little bit too for all the kids in philly, i jus dont have it in me to care for animals 2, srry
tryin to split that diff between not having ne responsibility and not lettin it seem like i don't care, cause i do care, i jus don't want the responsibility. don't make me feel good when the kid asks me do you like the cat, of course i like the cat, but not enough that i wuld evr be responsible to take her to the vet, or clean up her shit or whtevr. if you want hermit crabs thats fine just dont expect me to wet the sponge, so 2 speak. im very upfront with my limitations as a person, and im at my limit do everything i can for three kids and a little bit too for all the kids in philly, i jus dont have it in me to care for animals 2, srry
Tuesday, August 25, 2026
A Year of Blind Spots: Ghost in the Machine
Joe is working through a list of albums that he considers "blind spots," i.e. albums that he's never heard but feels like he should.
The first thing you should know is that the two-part Season 4 premiere of Degrassi: The Next Generation is called "Ghost in the Machine," and it is named after this album (which is itself named after a philosophical idea credited to British philosopher Gilbert Ryle, but the Degrassi episode-naming standard was that each title was named after '80s music, so we know that D:TNG is referring to the Police, not philosophy). Back in Season 2, Paige Michalchuk was raped by a college dude named Dean Walton, and in this two-parter at the beginning of Season 4, the trial is finally called. Paige slowly realizes that the justice system is not going to save her, but she remains steadfast in her decision to press charges in the first place, since this will at least help other women avoid Dean Walton, now that the world knows he's a rapist. Oh, also, Joey asks his stepson Craig for money.
There are no connections, literal or thematic, between this Degrassi episode and the album it's named after, but I wanted to make sure you knew how we got here. The ghost of Paige Michalchuk hung heavy over my experiences with Ghost in the Machine, the Police's fourth and second-to-last album. I think if I were to attempt to explain why, then maybe I'd say a general statement like "you'd think this would be a serious affair, but it's really not" and apply that to both. We don't need to go down the Degrassi rabbit hole, of course, but for the Police, it's an easy explanation. By the time I came of age, Sting was adult contemporary music. Even the one Police album I had before this week, Synchronicity, isn't necessarily FUN. It takes itself seriously. Ghost in the Machine doesn't take itself seriously, and it's all the better for it.
Like, I thought that was part of the joke in The Office, wasn't it? Kevin was the drummer in a Police cover band, and I thought one of the layers of that joke was that the Police played serious music but Kevin in all his naïveté was attempting to turn that music into party music (and the mediocre results in this regard would lead to another layer of the joke, when the dumb-dumb fiancé of Pam Beesly books them for their wedding without consulting his soon-to-be wife). But no, Ghost in the Machine reveals—to me, anyway, since I'm the real dumb-dumb here—that the Police actually did make fun party music. (Unlike Degrassi: The Next Generation, The Office sucks shit, and I would never recommend anyone watch it, but it's relevant here, so I held my nose and mentioned it anyway.)
The big highlights for me are the one-two punch of "Too Much Information" into "Re-Humanize Yourself," both of which feature the saxophone. I think I read that guitarist Andy Summers was a little pissed because it felt like he and Stewart Copeland were the backing band to a pop star, and the supplemental saxophone was named as a culprit. I understand that, and who am I to say, because I am not familiar with the first three albums in the Police's discography beyond the singles. Maybe the "fun" part of the Police, or at least the fun part as I experience it here, was only a temporary blip, and I'm just focusing on that blip right now, and getting the wrong impression. Does it matter? I'm having a fucking blast. I love this album.
The one you all know, "Every Little Thing She Does Is Magic," is instructive on how I feel about the album as a whole. Every time I hear the intro and opening verse of this song, I think, "this song is going to suck, isn't it?" And then every time that chorus hits, I'm like, "Ah shit, this is fucking GREAT, one of their best songs." It gets me every time. It's because I'm a man who fucks with preconceived notions, and looks out for things that confirm or deny those notions. I started listening to Ghost in the Machine thinking that it wasn't going to be good, that it was gonna sound like the Sting that I hear on the radio, but then I actually listen to the whole thing, and I'm just blown away.
I guess I was also always a little skeptical of the "reggae rock" genre that is typically applied to this band. Mostly because I didn't really hear any reggae within the code of the hit songs that I'm familiar with, and I was a little weary of hearing what skeletons these extremely white boys had hiding in their closet of deep cuts. Crisis averted—it's more style than substance, with the style basically being: cool as fuck. I definitely hear some reggae flavor in the groove of "Spirits in the Material World," and it is so fucking badass. I always assumed Stewart Copeland was a well-meaning nerd, but he's looks like the coolest person in the world when he locks into that groove at the chorus (I'm talking about the video, I should clarify—my iPod is still in the shop, I'm still wearing out YouTube playlists.)
Even when things do get a little serious, like "Invisible Sun" or some of "Ωmegaman," it never goes off a cliff into the turgid. Things are kept lively. And those are the exceptions. "Invisible Sun" moves right into "Hungry for You," which is like strict '80s new wave pop, and then "Demolition Man," which is closer to the Specials than anything Sting would ever do later in life. Even the last song, "Darkness," which isn't necessarily a party, can be chalked up to it being written by the drummer. Very cool they let him take the final slot (speaking as a drummer), but more importantly it's just cool how well the Police balance the profane and the profound on here.
This is a great example of why Year of Blind Spots is functioning in this specific way in 2026. All 50 albums are Blind Spots from artists that I'm already familiar with (and have written about on the blog, mostly but not always in this very column). I'm trying it because all these great bands are out there with unplumbed depths that I just never fucking knew about. I'm coming in here ready to roll my eyes at the Police, and instead I'm finding one of the best albums I've heard this year for this column. If you are looking for something cool and interesting and upbeat and are willing to try ANYTHING to erase the memory of the phrase "Sting and Shaggy," then start here. Or maybe watch Degrassi. Either one.
Labels:
Degrassi,
Joe,
Music,
Television,
Year of Blind Spots
In My Place 236
August 24, 2026. 40.07659, -75.08294. See the updated map here. See all the blog posts here.
Continuing to track the progress here. 30 years from now, two young people will spend their formative years as a couple in one of these apartments, and that's all they'll ever know of this space. They won't be able to imagine that anything else was ever here. I don't have a story, just a picture, which would be no reason to disavow them of that notion. Just a dumb picture of some boring framework to an ongoing building project in the neighborhood.
Continuing to track the progress here. 30 years from now, two young people will spend their formative years as a couple in one of these apartments, and that's all they'll ever know of this space. They won't be able to imagine that anything else was ever here. I don't have a story, just a picture, which would be no reason to disavow them of that notion. Just a dumb picture of some boring framework to an ongoing building project in the neighborhood.
The sign says to call 311 or even 911 if you view unsafe construction practices. And if you don't see anything unsafe, you can just write on your blog.
This Week's Albums, Embedded
Record Club 1:
Record Club 2:
A Year of Blind Spots:
RCAA Deeper Dive:
New Releases:
Other:
Monday, August 24, 2026
Song of the Day: "MIXTAPE LINER NOTES VAR. VII"
A column about music, and about how the music informs our lives. Today's author is Joe. See the previous songs HERE.
"MIXTAPE LINER NOTES VAR. VII"
Frog
from 1000 Variations on the Same Song
2025
What I'm interested in is the idea of the music you listen to defining you in some way. Can you describe yourself with a playlist? There are a few ways of answering that question. The way I'm choosing to answer it today is by thinking of it as a synonymous question to another important one: What kind of music do you listen to?
I have attempted to answer the latter question many times, and I always end up confusing myself. The most accurate and least helpful answer I could give is "everything." It's accurate because I really do believe that I am at the point in my life that I can handle listening to and processing and reflecting on any example of music that could possibly cross through my ears at any point (the blog has helped me immensely in that regard). But that's not a helpful answer to someone who is asking, because they aren't asking about your brain and how it works, and they aren't asking in order to gauge how open-minded of a person you are. They are asking because they are looking for a connection. If you listen to a certain type of music and so do they, then that's something to bond over. If the answer is "everything," then the connection is there, but it's too weak. Either that, or the answer of "everything" gets misinterpreted as "anything," which is a completely different answer, and the worst answer there is. If you're the type of person who says "I listen to anything," then that means you don't actually listen to music, at least not actively, and furthermore you probably don't give a shit.
The answer that is still unhelpful, but perhaps a little less so, is "I listen to indie rock." That's helpful because, if you know what I'm talking about, then you instantly know where I'm coming from, and we can find common ground. But it's not entirely helpful because the genre tag of "indie rock" is basically undefinable at this point, if it ever even was at all. What the fuck is indie rock? Most of the time, I can't say. It's just easier to name bands, but even that is sort of pathetic, because I'm just naming my indie rock bands, and the genre, if it even exists, is infinitely wider than that, beyond my own personal scope of what I know and love.
I read a book over the past couple weeks that attempted to answer that corollary question of "what is indie rock?" It's called Such Great Heights, written by Stereogum editor Chris DeVille, and it attempts to answer that question by tracing the history of "indie rock" from its '90s origins into the near-present. The bedrock of this lineage is that it began as an off-shoot of alt-rock that was playing on college radio and was largely released on independent labels, and as it gained traction and cred, it was consumed by capitalism, basically, and turned inside out, i.e. turned back into the very pop music is originally attempted to counter. That's the most basic outline I can give you. The way the book fleshes out this central argument is by... well, basically just naming and describing a bunch of bands. I'm not knocking the book, that's literally the only way to do it, and I enjoyed the narrative immensely. But it's tough to describe the genre that you primarily live in when that genre is so inclusive that the meaning was lost even before you attempted to describe it.
I think this is actually a solution for me, not a problem. If indie rock at one point meant something, then at another point it opened up so wide that it doesn't mean anything anymore. And that process of opening up accurately mirrors my own personal journey. I started out within the confines of indie rock, listening to the bands of this genre almost exclusively, and then gradually opened myself up to new genres and new artists and new sounds, to the point where my own personal answer to "what do you listen to?" can't possibly mean anything at all.
What I'd like to do today, despite everything I've said about the impossibility of the task, is to attempt it anyway. I want to describe what I listen to accurately, and I want to do so through a playlist. Did you know that this is something people are doing? It's not hard to imagine. "Describing yourself with a playlist" is not a new concept. It's probably been done at least since the advent of cassette culture, if not earlier. But I've run into a few real-world examples of this recently, as I take my own mysterious journey through the weeds of non-monogamy (this post is about music, though, don't worry). In the race to get to know someone as quickly as a janky dating app will allow, a playlist can now be used as shorthand for describing oneself. "This is what I listen to" is another way of saying "This is who I am."
The first time I was presented with such a playlist from an ostensible stranger, I was sincerely disappointed. Our brief conversation prior to that had showed promise, with mention of Frightened Rabbit (one of my all-timers), Tango in the Night (recently written about on this blog), and Motown (fucking duh). But then she dropped the link to her 50-song playlist subtitled "get to know me by my favorite music," and I had a tough time with it. Lots of B-team stomp-and-holler tunes, lots of pop rock songs that were clearly pushed up with the help of algorithms on TikTok and elsewhere, plenty of songs that exist firmly in the post-commercialization of indie rock, and a big handful of songs that I like but that don't scan as cool or hip or anything that I'd use to describe me as a person, even in combination with other similar songs.
You can see the problem. Well, first, the problem is me because I'm a snob (snobbery justified, I'm doing the fucking work to get to know music intimately enough to accurate judge it). But the other main problem is that it is clearly very hard to describe yourself via a single playlist. If my takeaway is negative, then it's either that we don't have compatible views on what is "good music," or the playlist made it easy to misinterpret the type of person that swiped-right pal is (or wants to present herself to be). And neither of those achieve the stated purpose of making a connection via the music.
There were plenty of other scenarios that would have played worse, I think. A step lower than the playlist she had would have been a playlist filled with basic pop music, like 50 songs comprised of Taylor Swift and Bruno Mars and Ella Langley (I had to look that last one up). A step lower than that would be pop music but pop-country, a playlist full of Morgan Wallen and Jelly Roll and Charley Crocket. A step lower than that would be, I dunno, a playlist full of artists I don't listen to anymore because they are sexually abusive? (The playlist that I checked out did indeed have Ryan Adams and Lizzo, but I'm trying to be sensitive and forgiving here, it's tough to share a part of yourself like that.) And then the bottom rung would probably be no playlist at all, because you don't listen to music.
A step above it, however, would probably be artists I've never heard of, but who are operating in niche genres that I am aware of and enjoy (like maybe a playlist full of hyperpop artists or something), shit that's cool and I know it's cool even though I don't know this song specifically. A step above that would be a narrow range of artists, but a depth of knowledge about those artists. For example, if I got a playlist full of Paul McCartney tunes, both the hits and the ultra-deep cuts, then I'd like that a lot, even if Sir Paul, whose music I love deeply, isn't necessarily my number-one favorite artist of all time. And then, of course, the top rung would be a playlist from a stranger full of music that I know and love and appreciate and feels like a mirror for my own musical soul. Doesn't happen too often.
Okay, so I'm going to create my own playlist. That's what I'm leading up to here. But I want to be clear about the what and the why. (I also want to make it clear that I'm not trying to shit on my once-and-probably-former friend, who made a good faith effort to make herself known, which I appreciate so much, even if it's not gonna work out, for reasons related and not related to music. I believe that you take a little something from everyone you've ever met, including in this specific and too-hot-for-the-blog context, and so why not the concept of a Playlist Describing You from this random person I might never talk to again.)
I don't want this be misinterpreted as an attempt at the Top 50 Songs of All Time. If you want a(n already outdated) copy of that, you just read this 2024 blog post (might take you a couple hours). I can love a song without letting it define me. In fact, many of the songs I love have extra gravity in my life because they were found outside of my comfort zone. I don't think "Welcome to the Black Parade" defines me at all, or means anything to me, besides the fact that it's one of the best songs of all time. To think that I am anything like the typical person who grew up with My Chemical Romance would be a gross misunderstanding of who I am and where I've come from.
On the other end of the spectrum, I also don't want this to be misinterpreted as a cool list of 50 random but certified cool songs that I've been listening to lately that you can chill with and "vibe" with or whatever the fuck. I can type a list of 200 good songs in about five minutes while blindfolded right now if you need me to, but the music I put down there would not give an accurate or full picture of who I am. Obviously you're going to find good music on my playlist, but it's been specifically curated for a singular purpose. I chose these songs because they accurately reflect what I like to listen to and what that might say about me.
If I'm going to make the claim that "I listen to everything," then I'm forced to admit that a 50-song playlist is not going to reflect that claim. There's no way I can cover every facet of my musical interests on such a playlist. So instead of trying, I'm going the opposite way. I'm narrowing the scope. The other claim of "I listen to indie rock" would be the shortest and easiest path to pursue. And more importantly, it wouldn't give anyone the wrong impression of what I "typically" listen to, or who I'm trying to describe myself as. Think about what you would believe about me if I said a song to describe me is "betty" by Taylor Swift. It's a fantastic song. If you ask me, it's the only Taylor Swift song that actually matters. But is that who I am? Do I want people thinking I'm a Swiftie? Do I want people to think I gave a single shit about what asshole jock she married or what private jet she's taking to buy a cup of coffee? Do you see how just adding the best songs would be counterintuitive to the purpose of today's mission?
There are countless other examples of music that were left off this playlist for similar, but far less cynical, reasons. You'll note, for example, that there is no hip hop on this list, even though I have grown in the past five years or so to deeply appreciate the genre and all its many facets, and consider a few rappers some of my favorite musicians of all time. I think it's more about knowing something, and wanting someone to assume what you know and what you don't know based on that song.
If I were to put Kendrick Lamar's "Swimming Pools (Drank)" on this playlist, this would be an excellent encapsulation of a piece of music that I love. Great fucking song. That second verse is bonkers. And I know it well, and think about it a lot. Being an alcoholic, it actually means a lot to me to hear a song that's questioning whether drinking is worth it in the long run, and speaks to the struggles we all have with substance abuse. I also recall walking home from McNally's somewhere one night drunk as shit and listening to this song and feeling the impact within me, years before I knew why. But if you saw this song on a playlist, would you be able to pull any of this out of the playlist? No. You would have to make assumptions. Which is okay, that's kinda what you're gonna need to do if you're checking out 50 songs from a guy trying to make himself known through the songs. I'm just saying that the assumptions have a greater chance of being wrong with a song that I know well from a genre I know less well.
There's a difference, in other words, between listening to something that you enjoy, and knowing something and the context from which it came fully and completely. If someone is going to be asking me about a song, I want to be speaking intelligently about it and the world in which it exists. I want to expound upon it. I could try to speak to "Swimming Pools (Drank)," but anything I have to say about it collapses inward. I don't know context, I just know what it sounds like (to me). It's all important when it comes to explaining "what you listen to."
But I want to be clear that this is not a playlist of the best songs. I'm not saying that I have "better taste" then you. That would be an obscene thing to say. Music is so fucking subjective, and I am continually humbled by how vast musical tastes can be. I'm not asking anyone to love every song on this list, because that's not the point. If I was going to make a playlist like that, I could. I took "Rock Me Gently" by Andy Kim off the playlist below at the last minute. I fucking love that song. It's better than most of the songs on here. If you're looking for a great song, start there. But it doesn't answer the question we're answering today. It says nothing about what I listen to typically. It is one exception out of many, many, many exceptions. It's some hokey '60s pop song made by a goober without another hit in one thousand years. That's not what I usually listen to. I listen to "Rock Me Gently," basically every day of my life, but that says nothing about me.
This playlist does say something about me. I think. I actually don't care, you should know that too. Care about someone knowing me, I mean. It's cool when someone does know me, or care to know me, like that feels good, but I'm not trying to make a habit of seeking that out. There's too much of that in the world. We are a society obsessed with trying to make ourselves understood by any means necessary. This blog has perpetuated that mindset way too often, and I'm trying to cut it out. I don't need you to understand me.
If you wanted to, though, you can start here.
- "Fear and Trembling" by Gang of Youths
- "Massive Nights" by the Hold Steady
- "Don't Shake Me Lucifer" by Roky Erickson & the Aliens
- "Turn On Your Love Light" by Grateful Dead
- "Your English Is Good" by Tokyo Police Club
- "Hazey Jane II" by Nick Drake
- "I Lost My Mind (DJ)" by Titus Andronicus
- "Custard Pie" by Led Zeppelin
- "Hideaway" by the Olivia Tremor Control
- "Sister Cities" by Hop Along
- "Better" by Caracara
- "One of Us Must Know (Sooner or Later)" by Bob Dylan
- "BLOOD IN THE MILK" by Fireworks
- "Drown" by Teenage Halloween
- "The Legend of Chavo Guerrero" by the Mountain Goats
- "Work Til I Die" by 2nd Grade
- "everyday feels like 9/11" by Home Is Where
- "Like Dylan in the Movies" by Belle & Sebastian
- "Younger Us" by Japandroids
- "Ghosts" by Bruce Springsteen
- "Lit Up" by the National
- "Come On! Feel the Illinoise! (Part I: "The World's Columbian Exposition / Part II: Carl Sandburg Visits Me in a Dream)" by Sufjan Stevens
- "Ice Cold" by Waxahatchee
- "Cut My Hair" by the Who
- "Attn MOVE" by Algernon Cadwallader
- "Sympathy is a knife" by Charli XCX
- "Cave-o-Sapien" by Wolf Parade
- "Wish You Were Here" by Pink Floyd
- "My Slumbering Heart" by Rilo Kiley
- "Life During Wartime" by Talking Heads
- "Under Cover of Darkness" by the Strokes
- "Drunk II" by Mannequin Pussy
- "Hanky Panky" by Tommy James and the Shondells
- "Every Time the Sun Comes Up" by Sharon Van Etten
- "Raise Your Voice Joyce" by Fucked Up
- "Cadmium" by Pinegrove
- "The Sporting Life" by the Decemberists
- "Hard to Love" by Bully
- "Narrator" by Squid
- "On My Way" by Alex Lahey
- "Scentless Apprentice" by Nirvana
- "Steel Claw" by Tina Turner
- "Two Deliverances" by the Hotelier
- "Paprika" by Japanese Breakfast
- "Cops and robbers" by underscores
- "Used Up" by Kill Lincoln
- "Hard Times" by Paramore
- "Robbery, Assault and Battery" by Genesis
- "Heimdalsgate like a Promethean Curse" by Of Montreal
- "I Must Belong Somewhere" by Bright Eyes
In My Place 235
August 23, 2026. 40.10033, -75.02357. See the updated map here. See all the blog posts here.
Everyone out here, worrying about gas, queueing up at the wholesale club to save a few nickels and dimes, while there's a great big blue sky beyond, wide open, the birds that coast along its winds without a worry or care. They fly toward the hospital, or don't, it doesn't really make a difference to them.
Everyone out here, worrying about gas, queueing up at the wholesale club to save a few nickels and dimes, while there's a great big blue sky beyond, wide open, the birds that coast along its winds without a worry or care. They fly toward the hospital, or don't, it doesn't really make a difference to them.
Sunday, August 23, 2026
Album of the Week: Wednesday Morning, 3 A.M.
Well, here we are. You wanted this album. I guess there's nothing else left to do but listen to it and review it. Alright then. You asked for it!!!
CATEGORY OF VOTING: "I Fucking Hate Music" — The bit is that I don't hate music at all, except there are just about five artists whose music I hate enough that I actively try to avoid it. And so I put those five artists on a poll, and allowed y'all to do your worst. For the record, there are a few other artists not included in the poll that I don't have any plans to listen to because I've hated everything I've heard from them (e.g. Leonard Cohen, Johnny Cash, etc.), but we can save all that for next summer. Also for the record, I have plans to be incredibly, radically open-minded this week. I am not approaching today's chosen album as if I already hate it. I am instead approaching it like I don't know it at all. Let's see what happens.
We are tracking and counting down every week from here on out till Record Club Week 420. We started this countdown 69 weeks out. During Record Club Week 420, we will be covering Donny Most by the esteemed Happy Days virgin Donny Most. The goal for Week 420 of Record Club is that it will feature 69 reviews from 69 different people.
THIS WEEK: We are 25 weeks away from Week 420.
Record Club:
WEEK 395 — August 23-29, 2026
LISTEN:
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PICKED BY VOTE
LOSING ALBUMS: Brave New World by Steve Miller Band; No One Cares by Frank Sinatra; Sheer Heart Attack by Queen; Turnstiles by Billy Joel
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ALBUM DETAILS
GENRE: Folk pop, contemporary folk, singer-songwriter
RELEASED: October 19, 1964
LENGTH: 31:17
TRACKLIST:
- You Can Tell the World
- Last Night I Had the Strangest Dream
- Bleecker Street
- Sparrow
- Benedictus
- The Sound of Silence
- He Was My Brother
- Peggy-O
- Go Tell It on the Mountain
- The Sun Is Burning
- The Times They Are a-Changin'
- Wednesday Morning, 3 A.M.
LYRICS: Genius.com
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ARTIST DETAILS
PRONOUNS: he/him/his preference for Paul Simon and for Art Garfunkel
PUNCTUATION: PoYB Style Guide insists that the artist "Simon & Garfunkel" utilizes the ampersand, and should not look like "Simon and Garfunkel." The PoYB Style Guide also insists that the ante meridiem time should be "AM" and not "A.M.," but there's nothing I can do about the album title, unfortunately.
ABOUT: Paul Simon and Art Garfunkel met in school in 1953. After being known as Tom & Jerry for a little bit, they changed their duo name to Simon & Garfunkel when they reconvened in 1963, and released their first album in 1964. It was not a commercial success, until 1965, when radio stations started to play "The Sound of Silence," which eventually went all the way to #1 on the Billboard Hot 100. Four more albums and two more #1s would follow. Their music featured prominently in The Graduate. The duo broke up in 1970, but there have been a few reunions over the years, including a 1981 concert in Central Park that attracted 500,000 people (supposedly). They were inducted into the Rock 'n' Roll Hall of Fame in 1990. Paul Simon had a successful solo career as well. Art Garfunkel less so, but he did find some success in acting. Both are still alive and still working, though as far as I can tell, they haven't reunited since 2009. I get the sense that Paul Simon and Art Garfunkel hate each other.
DISCOGRAPHY: This is the duo's first of five albums. The rest are: Sounds of Silence (1966), Parsley, Sage, Rosemary and Thyme (1966), Bookends (1968), and Bridge over Troubled Water (1970).
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ADDITIONAL INFO
READING SOME SHIT: a 2018 interview with Simon that specifically mentions the hit song on this album
WATCHING SOME SHIT: "The Sound of Silence" live in 2009
RECORD CLUB CONNECTIONS: Chronologically, there were three other RC artists (so far) that were inducted in the Rock 'n' Roll Hall of Fame before Simon & Garfunkel: the Beach Boys, Bob Dylan, and the Rolling Stones. Bob Dylan has a writing credit on this album, with S&G's cover of "The Times They Are a-Changin'." Rolling Stone made a list of the Top 20 Duos, and Simon & Garfunkel were at #3. The Black Keys (#20) and OutKast (#7) made the list, and Tina Turner was on the list at #2 as part of Ike & Tina Turner.
There was a song called "3AM" on Halsey's Manic (still not the correct style, but closer than this album's attempt). Wasn't there another RC album with a song titled by the time on a clock? I can't remember, and it's tough to find. Reading over some reviews of boygenius' the record, it looks like their "Cool About It" got a couple comparisons to Simon & Garfunkel's sound (in one case, "The Boxer" specifically). Studio bass played Bill Lee played on this album and worked closely with Max Roach throughout his career. Oh yeah, I forgot I mentioned this already: Harry Styles covered Simon & Garfunkel recently.
There was a song called "3AM" on Halsey's Manic (still not the correct style, but closer than this album's attempt). Wasn't there another RC album with a song titled by the time on a clock? I can't remember, and it's tough to find. Reading over some reviews of boygenius' the record, it looks like their "Cool About It" got a couple comparisons to Simon & Garfunkel's sound (in one case, "The Boxer" specifically). Studio bass played Bill Lee played on this album and worked closely with Max Roach throughout his career. Oh yeah, I forgot I mentioned this already: Harry Styles covered Simon & Garfunkel recently.
Is there a connection between Simon & Garfunkel and Hall & Oates? The only one I can think of off the top of my head is that comedy duo Garfunkel and Oates, you remember them? An early-2010s thing for sure. I guess they had a TV show too. And Weird Al played himself in an episode. Maybe we can cover Garfunkel and Oates' music sometime. Or maybe this guy named Simon Hall.
Here's to you, Ms. Robinson, Jesus loves you more than you could know, woah woah woah.
MENTIONS ON THE BLOG: Yes, and it's mostly in Song Challenge and Monday Morning Mixtape. In fact, there have been so many S&G songs chosen for this blog already that I specifically had to tally each one to make sure that the S&G album that ended up on this summer poll wasn't already disqualified (it might have been anyway, I forget, who cares, fuck this blog). Here they are:
"America" by Fisher for SSC Day 7; "Leaves That Are Green" by Walter for SSC Day 7; "The Sound of Silence" by Maeve for SSC Day 8; "Homeward Bound (Live)" by Sam for SSC Day 67; "Bridge over Troubled Water" by Frank for YSC Day 2; "America" by Sunny and "America" by Frank, both for YSC Day 9; "The Sound of Silence" by Sunny for YSC Day 15; "The 59th Street Bridge Song (Feelin' Groovy)" by Sara for YSC Day 15; "Sparrow" by Beth for YSC Day 15; "The Times They Are a-Changin'" by Jeanine for YSC Day 15; "Scarborough Fair/Canticle" by Galia for YSC Day 15; "April Come She Will" by Jeanine for YSC Day 22; "The Boxer" by Maeve and "The Boxer" by Joe, both for YSC Day 108; "Bridge over Troubled Water (Live)" by Bridget for YSC Day 112; "Mrs. Robinson" by Maeve for YSC Day 122; "Mrs. Robinson" by Gloria for MMM012; "Cecilia" by Gloria for MMM057.
Burholme also covered the Lemonheads' version of "Mrs. Robinson," which was originally a Simon & Garfunkel song, but of course Burholme didn't really know that.
Burholme also covered the Lemonheads' version of "Mrs. Robinson," which was originally a Simon & Garfunkel song, but of course Burholme didn't really know that.
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RECORD CLUB ALUMNI ASSOCIATION
This week's discography dive album: From the Choirgirl Hotel by Tori Amos
This week's follow-up album: Fate Morgana: Dawn by St. Lucia, Fate Morgana: Dusk by St. Lucia, and possibly The Hours: High Noon by Cautious Clay as well
This week's keeping up album (probably): Nothing is coming out this week that I'm really excited about. I suppose I could try to check out the new Weezer?
Listen with us! Keep your favorite Record Club artists in the rotation!
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COUNTDOWN:
69 Weeks Until Week 420
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| the sound of violence |
We are tracking and counting down every week from here on out till Record Club Week 420. We started this countdown 69 weeks out. During Record Club Week 420, we will be covering Donny Most by the esteemed Happy Days virgin Donny Most. The goal for Week 420 of Record Club is that it will feature 69 reviews from 69 different people.
THIS WEEK: We are 25 weeks away from Week 420.
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Happy listening, RC family!
Have a great week!
Have a great week!
In My Place 234
August 22, 2026. 40.08148, -75.08559. See the updated map here. See all the blog posts here.
I see the neighboring house and realize that this is the first time the windows haven't been boarded up in recent memory, which means the home has been restored after a fire, which means that the street isn't adorned with a large dumpster and porta potty anymore, which is nice, and I think to remark this to my dad, which is something I often do, sort of earmark a thought to relay to my dad at some future point, except for now that relaying will occur at the hospital, not his house, which is where I just was, his house, and he was not there, which was strange and disheartening and a little scary, though we'd all like to believe it's only temporary, that he'll soon be back and we can marvel together at the state of the block that he lives on and how there's not a porta potty in sight.
I see the neighboring house and realize that this is the first time the windows haven't been boarded up in recent memory, which means the home has been restored after a fire, which means that the street isn't adorned with a large dumpster and porta potty anymore, which is nice, and I think to remark this to my dad, which is something I often do, sort of earmark a thought to relay to my dad at some future point, except for now that relaying will occur at the hospital, not his house, which is where I just was, his house, and he was not there, which was strange and disheartening and a little scary, though we'd all like to believe it's only temporary, that he'll soon be back and we can marvel together at the state of the block that he lives on and how there's not a porta potty in sight.
Saturday, August 22, 2026
Record Club Alumni Association — Minutes from Meeting #11: American Trappist, Dina Ögon, WILLOW, the Mountain Goats
(Deeper Dive)
American Trappist
Tentanda Via — RC Week 42 — 3.5 pukes out of 5
The Gate — RC f/u #3 — 3.5 pukes out of 5
Poison Reverse — RC f/u #23 — 4 pukes out of 5
September 2, 2016
The thing about American Trappist—probably my favorite unknown artist to come to us through the channel of Record Club, lest we'd never have even heard of them—is that they always sound way bigger than their stature suggests they might. What I mean by that is that American Trappist plays music fit for stadiums. Not all the time, but there are songs that fucking go for it, you know what I mean? Listen to "The Devil Is Real" on this, their self-titled debut from almost exactly ten years ago, and tell me that shit shouldn't be pumping out of large walls of speakers at a 30k venue. So it goes in the music industry, I guess. And, like, maybe the next song, "On the River Toms," is not something stadium-worthy, I dunno. Maybe I should be talking about quality over quantity. There's depth to this shit, and NOT just because I am overly fond of RC alumni generally. American Trappist isn't some bullshit local artist stumbling their way through a hobby. This is catchy, often beautiful, occasionally poignant music. I am touched, for example, at the Philadelphia shoutout on "Fireworks." I do feel on fire when I listen to this song, and this artist. Why doesn't anyone else know about this artist? I don't know. Does Sean E., the RC captain who picked Tentanda Via for our listening pleasure 352 weeks ago, still listen to American Trappist? I don't know. But I'm really glad I'm still listening, and it's very cool that this guy apparently had the goods from his very first album. It's rare that you get passed along something that sticks with you like this.
GRADE: 4.5 pukes out of 5
(Follow-up)
Dina Ögon
Oas — RC Week 287 — 3 pukes out of 5
February 6, 2026
It's tough but not unfair to review a follow-up album when you don't really remember the original RC album. That's what the RC reviews are for, ya know? I haven't listened to Oas in a while, but my own words tell me it was a little boring and a little derivative. I don't get that sense with Människobarn. I instead have a different critique, one that is more indicative of the fact that I will never be a professional music writer—Människobarn feels too market-tested. Is that a thing? It should be a thing. I feel like some suit in Sweden was like "you should try to hit the middle of Portugal. the Man, Florence + the Machine, and Fitz and the Tantrums." They succeeded, of course, but to their detriment. Whatever suit told this band to start adding harder backbeats to their music, I'd pat on the back, because "Där huden är tunnast" is cool, it almost has disco vibes. "DÃ¥lig teve," on the other hand, is just derivative Stevie Nicks. I'm a simple guy, I don't need much. Dina Ögon picked up the tempo (compared to what I remember), and that's good enough for me. But I sense a lack of heart, and that's a bummer.
GRADE: 2.5 pukes out of 5
WILLOW
empathogen — RC Week 277 — 4 pukes out of 5
February 17, 2026
Credit always to those who work under the umbrella of nepotism and still manage to make something that actually sounds interesting. It would have been pretty easy for WILLOW to sound like Tate McRae or whatever. She would have been successfully commercially, but that would have been because of her parents, and her insane ability to reach large audiences just due to who her family is and the power that rich people have. WILLOW, as we have already established, has chosen not to take this route, and is all the better for it. I think that petal rock black is fine. It's a soft jazz thing, occasionally with some rhythmic bite but otherwise most consisting of WILLOW (and some guests) crooning over pretty basic jazz tunes. I don't love it, I probably won't return to it, and I think that WILLOW has the ability to be more interesting than this. I'm just saying that the overarching idea of "nepo baby making Kate Bush's version of Norah Jones" is cool to think about. It's also less than a half hour, so I don't really have anything to complain about here.
GRADE: 3 pukes out of 5
July 24, 2026
Of the two WILLOW albums that have dropped this year (so far!), I'll now give the win to THE THREAD. I don't think this is a hot take. The hot take would be saying that the two albums are way closer in quality than anyone seems to want to admit. The big difference, and the thing that gives THE THREAD the edge, is that it's way more dynamic. The songs on petal rock black were similar in tone and style, but THE THREAD is all over the place. Which is a good thing. I prefer something like "Talk on the Hill," which is Kate Bush cosplay, over something like "Shrink to Fantasy," which, besides some tempo and time signature wonkery, plays like your standard Beyoncé R&B album-filler. But the fact that these songs are coming from the same artist is the good part. WILLOW is still gaining strength, but for now, her versatility is what would keep me coming back. She's weird! In a good way! This is the only worthy path for a nepo baby like her!
GRADE: 3.5 pukes out of 5
(Keeping Up)
The Mountain Goats
Bleed Out — RC Week 299 — 4 pukes out of 5
Through This Fire Across from Peter Balkan — RC f/u #54 — 4.5 pukes out of 5
August 7, 2026
I know this isn't necessarily a new thing with the MGs—at least not with their 2020s output—but it was the first time that "repeat the same thing over and over and that's the chorus" got a little annoying to me. I am speculating that the reason that it was more noticeable this time around was that the words that comprised the repeated mantras were ultra specific. A lot of this album references other bands in jokey-but-serious ways (it was originally going to be a sequel to their 2017 album Goths, and it was going to be called Grunges), and so you get a chorus that goes "Maybe you don't recall / Renaissance played at Carnegie Hall." Over, and over, and over. I get that's how music works sometimes, and I get that the Mountain Goats have done this before to great effect ("I'm gonna make it through this year if it kills me" gets stronger the more it is repeated). But when you have to hear a chorus of "Find me here / crying on Eddie Nash's grave" a bunch of times, you start to realize how corny it is. I think it's a good song; it's catchy, and the verses are poetic, and way deeper than any "song about Eddie Nash" could ever hope to be. I just noticed this one little thing this time around, and I don't think that's my fault. Now, would you say that John Darnielle is AWARE of what he's doing? Probably. When you write a song called "Best Hard Rock Albums of 2013," and the chorus consists of saying the phrase "The best hard rock albums of 2013" over and over, I think at a certain point you have to assume that it's being done in a winking way. And the craziest fucking thing about it is that I honestly don't mind, at the end of the day. So many earworms on this thing. There's no other band on earth who could write a song called "Candlebox" and have the chorus be "Candlebox!" and not make me want to write them off forever. These are the Mountain Goats though. They apparently can do whatever the fuck they want. I'll keep listening either way.
GRADE: 3.5 pukes out of 5
(Random RCAA News)
- A few RC alumni teaming up in concert this week, as Noah Kahan brings out Chappell Roan, and Fontaines D.C. brings out Kurt Vile.
- The dude from Tool loves sushi so much that now he's gonna sell it.
- The new Green Day movie is getting mixed reviews! A Weezer movie is now in the works! blink-182 movie when?!?!
In My Place 233
August 21, 2026. 39.95198, -75.17182. See the updated map here. See all the blog posts here.
Can't find it, so I'm probably gonna have to go to the damn supermarket back at home. The reason I'm looking for it is because of the request made by three extremely cute children as I was leaving the home this morning. It's Family Movie Night, and they said that we haven't done popcorn in a while, and they are obsessed with Jiffy Pop for some reason.
Something that I'm pretty strict about is... well no, "strict" isn't the right word. It's more like I believe in certain ideals and I try to impress those ideals upon my children. One of my ideals is that we cannot find happiness through BUYING SHIT. The society that we currently live in wants us to believe that consumerism is the pathway to emotional well-being, and it's all a fucking lie. No matter how many little useless trinkets these kids buy at Target, these will never be satisfied, and they will never be happy. We talked about this after reading The Giving Tree the other night (not my decision, but the timing worked great), how the only character who is happy is the tree, because they give themselves away, and the other character, the boy, is fucking miserable and that is because he takes and he takes and he takes. So I refuse to partake in it. I don't get upset when Pam comes home from running errands saying "well they kept whining so I bought them something," but if I'm the one running errands, the kids know not to ask for some bullshit, and when we get home, they don't whine or complain, they are happier than they even understand.
The request for Jiffy Pop does not fall into this category, however. Food and experiences don't count as consumerism, for the most part. I'm gonna get them the damn Jiffy Pop, because that makes them happy, no ironic quotation marks required. I want my kids to be happy, so fucking sue me if they just need a little guidance in that regard sometimes. Other times, we're all on the same page. I'll find the Jiffy Pop for Family Movie Night.
Friday, August 21, 2026
Discussion — Week 394: Vespertine by Björk
Have we reached our Icelandic limit as a music club? That's the three most popular covered so far (Björk, Sigur Rós, Of Monsters and Men). Who else is there? If I had unlimited time, I would attempt to a population density relative to RC artists from that country, and compare each country. With a population of 400k, that means that we've covered 0.0075 Icelandic artists per one thousand residents. Just as an example, we've covered six Irish artists in RC, but their population is 5.4 million, which means that we've covered only 0.0011 Irish artists per one thousand residents. I would love to go through each country, but alas. Where's Ms. Robinson when you need her?
Hey, what did you think about this album? Did any of the reviews change your mind. Did any of the reviews spark your interest in any way? Let's chat about them in the comments. Thanks to all those who participated. Happy Friday!!!
Vespertine, Gloria
I'm going to write this review in two parts, although I may only finish one on time. It's a little past 1 AM on Friday, and I didn't get a chance to write a review yet. But I love this album, and I have a good story tangled up with memories of playing it.
My short take, unrelated to the story: this is the album I'd put on if a witch asked me to weave them a cloak from the silk of magical worms. Now, do I know anything about weaving beyond the definitions of "warp" and "weft"? No. Do I think killing bugs for fabric is unethical? Soft yes. Do I think killing supernatural bugs for fabric is unethical? Hard yes. Would I be up for the task anyway? Also a hard yes.
Vespertine, Sean E.
Vespertine sounds like music made specifically to be sampled by other artists or dropped into a very tasteful 30–60 second movie montage where something emotional and perhaps even dramatic happens.
This isn't really a mark against Björk. It's more an indictment of my own limited musical sensibilities and education. She is, after all, critically acclaimed. I can hear that something impressive is happening. I just don't seem to get it beyond knowing that I'm supposed to be impressed.
The production is intricate, intimate, strange, and occasionally beautiful in a way that makes me feel like I should have taken a music appreciation course before pressing play. Björk clearly has a vision. Unfortunately, my vision is mostly me wondering whether the next song is going to turn into something I recognize as a song.
No X out of 5 pukes rating for this one. I'm simply not qualified to give one.
"Pagan Poetry," though... I get that one. Good stuff.
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