I couldn't agree more. If they had actually put together a series based on those "objective" metrics—the ones where Pips are treated like complete nobodies and Adastra is a band that only matters to their own inner circle—it would have been a joke.
Haynes and Trucks just announced they’re calling it quits at ABB this year:
I guess this is really it. If there's any logic left in this world, people will be scrambling to get to the Beacon in March now that we know it's the end of the road—it's going to be absolute madness. I just hope they manage to capture it all for a live album.
I’ve made it through the first four episodes. Some of the intros where Navajo talks about the timeline feel a bit lost in space and time—for instance, he mentions the hippie culture and student protests being at their peak in the mid-70s. Wouldn't you say that was more of a late 60s thing? But hey, we were always running a few years behind the rest of the world anyway 🙂. I think I'll hold off on commenting further until I get to the episodes covering eras I actually lived through.
That said, a series like this is a welcome addition. If things aren't recorded, they just fade into oblivion. Then again, if something gets recorded incorrectly, that becomes the "truth" forever—so you really have to be careful.
PS: I feel like this topic fits better here than on some random TV subreddit.
This one is easily one of my favorites from Sam Peckinpah—honestly, it blows Alfred Garcia out of the water, and I’d even argue it beats out Pat & Billy or bijeg. It was a staple of my childhood, but even years later, after realizing the film had developed such a bad reputation, I went back to give it another look... and yeah, it still holds up beautifully. It's usually the first thing that comes to mind whenever I'm thinking about an underrated gem...
Is anyone else following the giallo marathon on PBS?
Honestly, a lot of the stuff they're airing isn't even really giallo—it’s more like they just sprinkled in a few tropes here and there. The last two were basically just straight-up political thrillers—*The Teacher* and *The Mafia*—while *Put That Monster on the Cover* and *What Did They Do to Your Daughters?* felt way more like police procedurals than actual giallo. As far as true giallo goes, they showed one Dario Argento flick and one Sergio Martino piece—both pretty solid, like *Who Saw Her Die?*—plus that pure exploitation flick, *The Girl in the Yellow Pajamas*.
To be fair, those non-giallo movies were actually some of the best things they've aired lately—but I’d still love to see them lean harder into the genre and show more work from the heavy hitters—you know, the Bava, Argento, and Fulci types...
Looks like they're switching back to Spaghetti Westerns during that same time slot starting next week...
Frank Chase6 said:Her best film was definitely Fishing. Plus, she was incredibly cute back then 😍
Exactly 👍
Patrick Martin said:she's just eye candy ☕
just a typical money-making product of New Hollywood 👎
Anne Hathaway isn't exactly a standard New Hollywood cash cow—mostly because a) She’s an actress who really cut her teeth in British cinema. b) "New Hollywood" actually refers to a specific era running from the late 60s to the early 80s. It was basically the last time you could find truly gritty, director-driven films being made in the States. That whole movement ended after the massive flops of Ciminov's Gates of Heaven and Coppola's Coppola, which led the big studio bosses to decide that giving directors total control was way too risky. Instead, they pivoted their focus—and their wallets—toward churning out blockbuster franchises that can be milked indefinitely for a guaranteed return. It's almost ironic that the shift started with one of the New Hollywood icons, Spielberg, and his Jaws. So, New Hollywood has absolutely nothing to do with the modern Hollywood junk the previous post was talking about.
Selling Roxy Music - For Your Pleasure Original 1973 United Kingdom pressing. Sleeve is in vg+ condition, though the vinyl itself is looking more like vg-—asking $27.
Just figured I’d weigh in here. That recent lineup featuring Haynes and Trucks is honestly incredible—I can't think of any other rock band from their era that still manages to be this electric when they hit the stage. Personally, I might even prefer *One Way Out* from 2004 over *Fillmore*, and as far as studio work goes, *Hittin' the Note* is a straight-up masterpiece.
Look, you have to be honest and unapologetic about what first hooked you. If we don't, we're basically admitting we all had better taste at ten years old than the editors at Pitchfork, John Peel, and Mate Škugor combined...
In my case, I was obsessed with the original 60s era of The Mothers of Invention. Just kidding—I'm nothing special. I was actually into Queen.
Today’s chart-topping hits are basically engineered to satisfy the masses—and that appetite can pretty much be boiled down to "fast food music." It’s all designed for quick consumption. We used to live in the era of the album—that period starting back in the sixties where you actually sat down, listened, and really engaged with the music—but that seems to be dead and buried. Now, we’ve circled back to something resembling the pre-sixties landscape, where the charts are dominated by shallow, easy-to-swallow singles rather than cohesive albums. These are tracks meant to slide into your ears while you're doing something else—cooking, cleaning, or nowadays, just scrolling through your phone or driving. It’s music that requires zero intellectual heavy lifting. It’s hard to imagine people getting genuinely excited about complex compositions these days—you know, the kind with five-minute runtimes, long intros, or shifting tempos and dynamics.
The reasons for this shift mostly stem from our modern socio-cultural habits, rather than some inherent flaw where one generation simply has worse taste than the last.
That said, it’s not all doom and gloom. It’s actually easier now than ever to carve out a niche for yourself and find a dedicated enough following to actually make a living. In many ways, the music scene is more diverse than it has ever been; it’s just that whatever sits at the top of the Billboard charts feels incredibly bland and repetitive. Still, I get why this creates such a sense of confusion and noise for the listener.
Where was everyone when it "came out" a few months back that Heavy Color was supposedly ripping off David Bowie's New Killer Star
But let's be real—first, David Bowie "stole" this: Blur - Coffee and TV
They’re just simple, similar riffs—the kind of thing you could stumble upon yourself without having to lift a finger to steal from anyone. That's all there is to it.
Try swapping out J. Edgar in these lyrics for any pig you want:
Down on the farm we had a pig, J. Edgar was his name He’d gobble up every bit of food we had and then just start over again Just like them vacuum cleaners They sell down in The lan Well Well, that’s how J. Edgar Hoover got his name
Anyway, Momma baked a cherry pie and left it out to cool Thinking we’d have a decent snack after getting home from school But J. Edgar hopped up on the porch and polished off the whole thing By the time we walked in that morning, all we could hear was Momma crying
J. Edgar, J. Edgar, look at the mess you've made You devoured the cherry pie meant for the whole family We survived the dust storms and the locusts, too But God help us, J. Edgar, because nothing is safe when you're around
We had this extra hand named Bob who wouldn't lift a finger He spent his time drinking cheap moonshine—always ended up sick We headed to church on Sunday and hung out in town for a bit By the time we got back for supper, poor Bob had vanished without a trace
He wasn't in the living room, and he wasn't out by the road Not hiding in the pantry or sleeping in the hay, either Even his favorite hat was sitting right there in the pigpen Guess poor Bob won't be nursing that moonshine anymore
J. Edgar, J. Edgar, it just doesn't feel right You went and ate Bob, our hired hand, while we were away at prayer Let's say a prayer for old Bob, and for the US, too God help us J. Edgar, nobody's safe from you
Sony: "Let's drop the music video for Black" PJ: "Pass" Sony: "You'll make good money" PJ: "We've already made good money" Sony: "But you'll make more" PJ: "Just how much is enough?"
"Send the robber barons straight to hell Those greedy thieves who moved in And devoured every last bit of what they could find All those crimes that went totally unpunished The ones walking our streets like they're free men now"