#Central American post punk

[nugothrhythms]

2024 single "Flores, Perfume" by Quetzaltenango, Guatemala-based post-punk act Guerra Fría

[gothmusiclatinamerica]

"Cadore" by Quetzaltenango, Guatemala-based post-punk act Guerra Fría off of 2022 EP De Los Recuerdos Y El Odio

[evilthotiana]

I hate Abstract Hip Hop African Music Afrobeats Alt-Country Alté Alternative Dance Alternative R&B Alternative Rock Alt-Pop Ambient Ambient Dub Ambient Pop Ambient Techno Americana Art Pop Art Punk Art Rock Avant-Garde Jazz Ballroom Baltimore Club Bedroom Pop Blues Boom Bap Brazilian Music Breakbeat Breakbeat Hardcore Bubblegum Bass Caribbean Music Central African Music Chamber Folk Chamber Pop Chicago Drill Chillout Chillwave Classical Music Cloud Rap Conscious Hip Hop Contemporary Folk Contemporary R&B Country Country Soul Dance Dancehall Dance-Pop Deconstructed Club Deep House Detroit Techno Disco Downtempo Dream Pop Drill Drill and Bass Drone Drum and Bass Drumless Dubstep Dub Techno East Coast Club East Coast Hip Hop Electro Electroacoustic Electronic Electronic Dance Music Electropop Emo Emo Rap Experimental Experimental Hip Hop Experimental Rock Film Soundtrack Folk Folk Rock Footwork French Hip Hop Funk Funk brasileiro Funk Rock Future Garage Gangsta Rap Garage Punk Garage Rock Ghetto House Ghettotech Glitch Glitch Hop Glitch Pop Grime Hard Bop Hardcore [EDM] Hardcore Hip Hop Hardcore [Punk] Hardcore Punk Hip Hop Hip Hop Soul Hip House Hispanic American Music Hispanic Music Horrorcore House Hyperpop Hypnagogic Pop IDM Indie Folk Indie Pop Indie Rock Indietronica Industrial Industrial & Noise Industrial Hip Hop Industrial Techno Instrumental Hip Hop Jamaican Music Jangle Pop Jazz Jazz-Funk Jazz Fusion Jazz Rap Juke Jungle Krautrock Math Pop Math Rock Memphis Rap Microhouse Midwest Emo Minimal Synth Minimal Techno Minimal Wave Modern Classical MPB Neo-Psychedelia Neo-Soul New Wave Noise Pop Noise Rock Northern American Music Nu Jazz Outsider House Plugg PluggnB Plunderphonics Political Hip Hop Pop Pop Rap Pop Rock Pop Soul Post-Bop Post-Hardcore Post-Industrial Post-Punk Post-Punk Revival Post-Rock Power Pop Progressive Breaks Progressive Electronic Progressive Pop Psychedelia Psychedelic Folk Psychedelic Pop Psychedelic Rock Psychedelic Soul Punk Punk Rock R&B Reggae Regional Music Rock Shoegaze Singer-Songwriter Slacker Rock Slowcore Smooth Soul Sophisti-Pop Soul Soul Jazz Sound Collage Soundtrack South American Music Southern African Music Southern Hip Hop Southern Soul Spiritual Jazz Spoken Word Synth Funk Synthpop Tech House Techno Traditional Folk Music Trap Trap Soul Trip Hop UK Bass UK Funky UK Garage UK Hip Hop West African Music West Coast Hip Hop Western Classical Music Wonky

[itskindofareallyniceday]

Something new for Native American Heritage Month this year:

This playlist features indigenous musicians from North, Central, and South America. It includes a variety of genres (post-classical composers, folk punk, indie pop, pow wow punk rock (yes, that's a thing!), indie rock, etc.), as well as a variety of languages (Wolastoqey, Inuktitut, Atikamekw, Cherokee, Navajo, Cree, Quechua, Greenlandic (Kalaallisut), Tłı̨chǫ, English, French, and Spanish).

[mysteryflavorsoda]

Rurik Liderc and the stereotype of the broken (but sexy) anti-hero

(and how it makes him worse as a character)

Heyy, I'm back, kind of! This is my first actual rant, so I'm sorry if it's a bit boring or confusing. Feel free to ask me anything! This is just something that I've always had looming in the back of my mind, and I really want to talk about it. 

In October 2005, Pop Punk band Green Day released their seventh studio album, American Idiot. It follows the life of the central character, Jesus Of Suburbia, a middle-lower-class all-American teen who hates his town and pretty much everything. He's pretentious, a rebel, angsty; a faithless, working-class man who hates the system he's placed in, screaming for the rebels living in post-2000s America. It comes as no surprise, then, that @angeutblogo's Lasser would inspire her iconic character, Rurik Lidérc, off the song that describes this main character.

As the years went by, Rurik gained more and more traits, hobbies, a story, friends, and of course, multiple lovers. As it is today, you could call him a multifaceted character- I'm here to say that this perhaps might've been his downfall, too. As it stands, Rurik is a badly constructed character, where new information contradicts old information and traits that are not in line with the logic set upon him initially are imposed. It seems that the creators try and stuff him to the brim with different exciting ideas, but ultimately end up getting a messy clump of characteristics that results in many users having to redefine him with headcannons and rereadings, myself included, because he ends up being so confusing.

First, Rurik being a US Army veteran is one of the biggest pillars in his personality. Although not a lot of information is revealed about that part of his life specifically and the effects it had on him, we can deduce that it greatly affected him in more than one way, changing him fundamentally; PTSD. A prime example is that Lasser has stated that he has an aversion to loud noises, such as fireworks and thunder, but then proceeds to state that it only makes him have a minimal response of being "more alert". How can he be fundamentally changed as a person due to trauma and still only suffer minor damage? Are the creators afraid of making a character that's fully and realistically traumatized by war because it would compromise his appealing "sexy bad boy" nature? But then, that very nature is driven forward by the very fact that he's traumatized, that he's "angsty". It just confuses me how posts speaking of his trauma are immediately followed by posts describing his kinks and hypersexuality, and descriptions of his mental state are switched out for retellings of future events where "everything is all right finally", not bothering to make him go through the process of recovery, and research of trauma responses or toxic relationships is traded for discussions of what motorbike he has. It almost seems like the creators want him to be many different things that cancel each other out.

Thus, this contradiction leads us to the next point: Dante and Rurik have an open relationship, despite Rurik being shown to be possessive and emotionally immature. Rurik is, in simple terms, a manchild at times, stalking Dante when he feels like it, being insecure, and being sad by small things Dante says, in addition to threatening his exes. Those are toxic, insecure behaviours, of course, but it gets brushed off as "oh, but it ends in them sexually punishing each other" (going into how their relationship is sexualized, but that's a topic for another day), which in itself is contradicting because it's written to be a healthy relationship that's good for the both of them. And yet, we get bombarded with recounts of Dante being toxic to Rurik and vice-versa. He's also said to get extremely uncomfortable when Dante flirts with other women because he "can't compare", so how on earth could they have an open relationship without constant interventions and fights?

I believe that, if Rurik is insecure, it would naturally cause him to believe that Dante is replacing him if he flirted with another person. This is because he has a fragile ego, and people like him tend to fall into that insecurity (speaking out of experience and my interest in human psychology), and it would lead to constant fights, doubts, manipulation, and overall a bona fide toxic couple. Perhaps even worse than Lurik, as Dante is constantly described as psychopathic and manipulative, even to Rurik himself. They're shown to kind of fix everything with sex and "punishments", downplaying the other's insecurities and genuine feelings and promoting unhealthy dynamics. Rurik is not written to be someone who could have an open relationship that would be fair to himself and Dante, and yet, they push on, because of course they do; they are entirely centred around having sex, after all.

So, where am I going with all this? In all the glamourized media that we see, there's a strong tendency to try and make perfect characters. Rurik Lidérc is broken, angsty, insecure, and repressed, but that doesn't get in his way at all! All he wants is sex, drugs, and rock and roll. He reminds me of James Hurley from Twin Peaks: his conflict can be so well-explored, his trauma could be so fleshed out and the effects of trauma on the human mind could have given us a beautiful story of redemption, of growth, of understanding. But God, he just keeps making out with Donna all the damn time, and the camera always focuses on him like he's in a Playboy magazine. The realism, the beauty, the relatability- it's all sacrificed for middle schoolers to ogle at him and go "Wow, he's so misunderstood! I could fix him!". But that comes at the cost of a character that has the full potential to be truly amazing, as I've seen with my friends in the fandom.

When you look at Rurik Lidérc, he comes across as well-researched because he's traumatized, but it doesn't take long before you realize that that's quite a far-fetched idea. It seems like he's just a list of ideas and randomness that no one bothers to organize, and that deeply saddens me because I've seen the interesting directions he could be taken in, and I just wish the love and care put into this character also shined through through the creators.

[haberdashing]

Indie Music Rec: Carsie Blanton

I wanted to promote an independent musician I'm a fan of, so here's a music rec post!

tl;dr:

Music: Folk, country, punk, maybe pop with some songs if you squint? Some love songs, some protest songs. Tempo varies wildly based on song. Definitely catchy. Some are sing alongs.

Vibes: Leftist, anti-capitalist, clearly channels her rage at the system into much of her music. Funny. Genuine. Passionate. She might just be on tumblr now actually it looks like the url is taken and probably actually by her but not used since 2018

Identity: From the American South, Jewish, Millennial-ish. Doesn't really center her own identity or story in most of her music.

Carsie Blanton... where do I even start in recommending her?

There's how she's about as far left as my own corner of tumblr tends to be. (I swear I heard her describe herself as politically "somewhere between Bernie Sanders and Karl Marx" but now I can't find the quote. It sounds about right, though.) How she refers to herself as "socialist" unabashedly and rails against the excesses of capitalism. How one of her songs has the lyric "you're just a Democrat, I'm a revolutionary".

How she has a song inspired by her response to the Charlottesville rally, and how the rally hit home for her, as she grew up in central Virginia as one of the only Jewish kids around.

How her songs channel her leftist rage, advocate protest, tear apart the system we're living in.

But importantly, she's not just writing protest songs, she's writing catchy protest songs that are genuinely quality pieces of music to boot.

When I saw her in concert a couple months ago, she mentioned how Dolly Parton's "9 to 5" is great because it's about as far left as you can get while still being a catchy pop song, and I think Carsie Blanton's own music fits that pretty well too.

I posted not too long ago about how my mom saw her posting something pro-Palestine and thought she was going too far because of it. I looked up the post in question; it had the caption "Free Palestine" along with some informative text that wouldn't look out of place in a tumblr post. Nothing radical, nothing anti-Israel. Just support for the Palestinian people. And while that might cost her some fans in and of itself--I think my mom's lost some interest in her because of it--I think it's a good example of how her leftism isn't just an act, or deployed just when it's popular. She speaks out for what's right, regardless of what the rest of the world thinks.

Now, that's enough of an introduction, I think. So I'll leave you with some examples of her music, and a quick blurb about each song I'm linking.

This is the one in response to Charlottesville, and it's the sort of fast-paced, angry song you might expect:

This one's also very anti-capitalist but a bit slower and more mellow, though that's not to say it won't get stuck in your head fast:

This is the one that first got her on my parents' radar, a fitting tribute to beloved country artist John Prine:

Apparently this one's big on Tiktok? I believe it, it's got the fast pacing and witty lyrics for that crowd. (Age-restricted because it uses the word "bitch" a lot, I imagine. Title is "Ugly Nasty Commie Bitch".)

This is the one with the lyrics I quoted above, despite being not generally a political song, just a fun silly listen:

Not quite as upbeat as the title might make it seem, but very fitting vibe for the current moment given, y'know, everything:

Are you an American with deeply divided feelings about what that means given your place of privilege in the world but being stuck in a system that keeps causing harm? Carsie Blanton feels that too:

Another slower, mellow one, and not political this time, but this one's gotten stuck in my head a few times lately:

And finally, a sing-along that seems like the perfect way to wrap things up:

[popculturelib]

Fanzine Friday #8: But a Paper Dress no. 3 (1990s) by an unknown author.

We don't have many fanzines that talk about Barbie; in fact, we could only find this one issue. But a Paper Dress (BPD) is a zine that talks about quite a few things, most of them related to punk rock and music. But there are two pages sharing what people think about Barbie as a cultural phenomenon -- though they're a bit of a different take on Barbie than what we've seen earlier this week. What do you think about Barbie (and Ken)?

Transcripts below the read more.

The Browne Popular Culture Library (BPCL), founded in 1969, is the most comprehensive archive of its kind in the United States.  Our focus and mission is to acquire and preserve research materials on American Popular Culture (post 1876) for curricular and research use. Visit our website at https://www.bgsu.edu/library/pcl.html.

Text from the cover, read top to bottom:

Interviews with:

Mark Amft from Drink Me

Chocolate USA

R. Seth Friedman of FACTSHEETS

And Julie Ann Klausner?

Barbie: The quintessential icon of popular culture, or just another prick tease?

Eat My Shit, MTV boy

The Lost Art of Female Masturbation: A "How-To" guide of sorts

[around the central figure's halo] Sing a Song of Loyalty / Wearing But a Paper Dress - Brian P. De[illegible]

John Henry. Pleased to meet you.

Welcome to the mesmerising queasiness of our brother zine, The Strobetongue Files

And more BPD punk rock rubbish

live from the bowls of Hell! Special Monkees Issue

Text from the pages about Barbie, titled "Cowgirl on Wednesday"

Speculations on Sexist America's favorite pop icon. Names have been omitted for reasons of anonymity. [heart]

As a little girl I used to stand in front of my mirror naked, and compare Barbie's body to my own. I would compare our breasts, hips, tummy, and how far apart our thighs were. I would evaluate how I could change to look more like Her.

If you've ever taken off a Barbie Doll's hear you'd have seen a freakishly long neck, and at the top a kind of tan saucer connected to the body by a plastic ball. The saucer is mobile, and the ball will swivel around its "axis" so that Barbie will be able to move her pretty head to look up at the sky, over her shoulder to smile at something behind her, or just to nod. My friend Chris collects Barbie Doll heads, but I find the saucer-ball part much more fascinating. Keep in mind that without this golden choking hazard, Barbie's head would have to have to be secured in place only by being shoved down directly above her shoulders. This technique tends to make the doll resemble Barbie's heavier and less attractive cousin, White Trash Skipper. (Trailer Park and rifle sold separately)

I used to love Barbie dolls when I was little. I would imagine going to huge parties with my best friend Barbie by my side, and how we would make our grand entrance in extravagant pink gowns. Come to think of it, and the time she was my only friend...

When you lift up a Barbie Doll's arm you can see that her armpit is like a 3 dimensional sphere. I thought armpits were supposed to be concave.

[next page]

When I first heard about that GI Joe/Barbie voice box mix-up on television I thought I was going to split a side. What a great prank!

Maxie. Maxie could never wear Barbie's clothes. She could fit into them all right but she couldn't fill them out properly - especially with those straight arms. Man, Barbie could wear lime green spandex like no one else.

I remember that Ken's genitalia consisted of either flesh-colored briefs or a vague, androgynous "hump" kind of a shape that may have suggested a sort of phallus to the girls that cared. (myself included)

Every Barbie doll looks completely different - and it's not just the hairstyle or eye color either. I know they're made from cookie cutters, but I could never get rid of the feeling that each doll had an entirely unique identity. And I didn't name any of them "Barbie."

Barbie never menstruated. Barbie looks great under fluorescent lighting, and thin when she wears horizontal stripes. Barbie could be a rocket scientist on Tuesday, a [illegible] on Wednesday, a nurse on Thursday, Miss America on Friday, and still have time to run with the Rockers in time for their huge gig this weekend. Barbie's parents made sure to properly bind her feet when she was young so she looks very chic, but can't really wear shoes without scotch tape at hand. Barbie never fucked. (she hated sex) Barbie never ate despite her constant cooking. Barbie has never seen a corpse or a book or a cigarette or a vagina. Barbie's legs feel different from her torso.

Sideways text in the upper right corner: "If you or someone you know is interested in this subject, do not hesitate to order Barbara's divine fanzine, Hey There, Barbie Girl! for 2 dollars from HTBG! PO Box 819 Peter Stuyvesant Station, NYC 10009. Not only does she know the guys from Ms. Lun, but she's a peach of a zine editor as well."

[manifestopaulo]

Post-Punk, Reggae, and the Evolution of East London's Music Scene

Introduction

The British music scene has a vibrant history of embracing and transforming genres from different cultures, particularly black music. From the Beatles' admiration for American rock 'n' roll in the 1960s to the rise of reggae music, the British have taken these influences and added their own innovative touch. However, it was with the emergence of reggae in Britain that an exciting and transformative journey began. This journey eventually paved the way for genres like rave, jungle, garage, and dubstep.

Moreover, East London played a central role in shaping this musical landscape. This essay aims to uncover the deep connection that East London has with dub and reggae music, as well as the influential East London artists who emerged and played a significant part in transforming British music.

Early days of Reggae in East London.

Reggae has been a part of East London's music scene since the 1960s, and we owe a great debt to the generations before us who not only created this music but also embraced it, making it cool to listen to. As a personal example, my father was part of the first-wave of skinheads and frequented reggae or 'Blues beat' clubs like the Four Ace's in Dalston during his formative years. The Four Ace's, established in 1966, the Wikipedia entry for the Four Ace’s states that ‘in the 1960s and 1970s, the club was one of the first venues to play black music in the United Kingdom and was credited with playing a significant "role in the evolution of reggae into dance music, from ska, to rocksteady, to dub, to lovers, to dancehall and the evolution of jungle.’

The experiences my father had during that time left a lasting impact on his musical taste, which included artists like John Holt and Bob Marley, as well as Tamela Motown Records and sophisticated 70s soul. These musical preferences were shared by many East Londoners during that era.

A Confluence of Influences: Post-Punk and Reggae

When punk arrived, my father's generation might have been considered too old for that scene. However, it was during the emergence of the second wave of British reggae enthusiasts that something truly groundbreaking occurred. This generation not only embraced punk music but also incorporated elements of reggae and punk into their own music. These individuals were visionaries who played integral roles in the music industry and the post-punk scene. Artists such as Jerry Dammers and Terry Hall with The Specials, John Lydon and Jah Wobble with Public Image Limited, Pauline Black and The Selector, Neenah Cherry with Rip Rig & Painic, Adrian Sherwood, The Pop Group, The Clash, The Slits, and even Madness, played a vital role in the cultural fusion of post-punk and reggae.

The connection between post-punk and reggae in the British music scene is a testament to the remarkable diversity that emerged during this period. They took reggae as a starting point and created their own unique punk versions or experimented with unconventional, abstract variations of the genre. The intertwining of post-punk and reggae is an undeniable connection that can be viewed as a breeding ground for the unique British diversity that would resurface and continue in genres like jungle and dubstep These genres can be seen as natural progressions of the groundwork laid by the reggae-inspired post-punk musicians.

It is important to acknowledge the pioneers of reggae and those who stayed true to its traditional roots. Reggae itself deserves immense praise, but this piece focuses on the diverse sounds it has inspired. Reggae did not necessarily require diversification, but it played a pivotal role in encouraging white British individuals to embrace diversity and undergo transformative experiences. Reggae was everywhere while I was growing up in Hackney - resonating from tower blocks, playing at parties of friends with West Indian Caribbean backgrounds, and streaming from radios & stereos of guys I worked with. During my early teens, there was a Dancehall reggae boom, with half of my friends into ‘Dancehall Ragga’ and the other half into either rave or Heavy Metal music. It was just the way things were back then.

The East London Connection: Jah Wobble.

The biggest noteworthy figure from East London who played a pivotal role in this transformation is Jah Wobble. Born John Joseph Wardle of Stepney Green, the bass guitarist and singer known as the original bass player in Public Image Ltd (PiL) in the late 1970s. Jah Wobble perfectly embodies the open-minded and diverse music approach ingrained in certain types of East London residents. He went on to pioneer a plethora of diversity in his music.

The Influence of Post-Punkers on Rave

Among the post-punk artists, it was the industrial music musicians who wholeheartedly embraced change. Hackney resident Genesis P.Orridge of Throbbing Gristle made influential contributions to acid house with his project 'Jack the Tab,' just as Richard H Kirk of Cabaret Voltaire did in the Sheffield scene and early Warp Records. They were not interested in remaining loyal to a single genre but instead chose to move with the current and embrace whatever manifested at the time. Artists like Jah Wobble, along with many likeminded individuals, were already exploring the realms of reggae, hip hop, and electronic music. The combination of these factors sparked an optimistic and forward-thinking attitude towards music, and the post-punk era cultivated a remarkably imaginative and inventive environment during the vibrant decades of the 80s and 90s, which proved to be an optimal period for artistic exploration and groundbreaking innovation.

Mutation, diversity and open-mindedness towards music all idea’s that would find home and be carried forward in Rave. Other influences added to the cultural blend, including the energetic beats of hip hop, house, and techno. As a result, the British Reggae-Rave version of this music emerged. Some of it had an electrifying party energy that gleefully crank-up the insanity level, with an emphasis on multiculturalism much similar to the British Ska movement of the late 70s. Then some of it would be dissonant and otherworldly like a mix of techno and more abstracted post-punk like Public Image Ltd. This thrilling evolution proved to be revolutionary, setting the stage for Jungle, Drum & Bass & Dubstep. This emerging genre of dance music would serve as a platform for even more numerous young individuals, many of who had little music training or equipment, to engage with music. Enabling them to flourish, thrive and capture the spotlight, which, in my opinion, truly epitomises the essence of punk. This indomitable spirit, reminiscent of both British Punks and Jamaican rebels, continued to exert its influence within the rave generation, as a real rebel connection.

Furthermore, when artists from East London who had primarily focused on reggae music began experimenting with abstracted reggae elements and rave-inspired tempos, as exemplified by the likes of 'Shut Up & Dance' and their 'Hackney Hardcore' projects, the rapid development of Jungle music was greatly accelerated.

Since then, East London has consistently been at the forefront of underground dance movements, particularly during the ascent of rave music in the UK. This is not by chance, as at that time, East London's vibrant music scene provided the perfect nurturing ground for experimentation and creativity to flourish. This collective effort resulted in a vibrant underground dance movement that East London has continued to lead ever since.

Conclusion

The journey from post-punk to rave exemplifies music's ability to transcend boundaries and spark creativity. The experimentation and melting pot of ideas in the post-punk era have had a lasting influence on future generations. The contributions of reggae-inspired post-punk musicians will remain a source of pride and inspiration, serving as a constant reminder of the limitless possibilities in both music and life.

In conclusion, the most significant impact of rave was its ability to bring people together and overcome differences. Rave culture was about breaking down divisions and embracing unity. The transition from reggae to rave, jungle, garage, and dubstep is a testament to the coming together of people from different cultures within these shores creating genres that celebrate the cultural mix in music. The enduring legacy of East London's music history reminds us of the importance of unity and transcending differences. The influence of these artists and the love for dub and reggae music in East London continues to shape not only the UK music scene, but also that of the world.

[nugothrhythms]

“Gente normal” by Quetzaltenango, Guatemala-based post-punk act Guerra Fría off of She Smells Like Flowers And Death, their second release of 2023

[gothmusiclatinamerica]

The eponymous track off of 2023 release Mis Lágrimas Y Yo by Quetzaltenango, Guatemala-based sad post-punk act Guerra Fría

[magepunkpress]

Creative Manifesto

I’m Strummer, an American artist and writer from Central Florida. My blog and YouTube channel (strummerdundee)focus on my passion for learning and the creative process…

…especially in a post-modern society obsessed with pop culture’s attention economy.

I self-publish through Mage Punk Press. My main zine, Sunshine State of Mind, reflects on complex emotions toward the past, present, and future of Florida.

Both my writing and channel document DIY projects and artistic experiments, giving others a peek into the mind’s workshop and a cozy starting point for those wanting more creation and critical consumption in their lives.

Influenced by:

Terry Pratchett

Threadbanger

The Magic School Bus

Julia Child

Out of the Box

Elvira

Alton Brown

MST3K

School House Rock

‘90s edutainment games

Reading Rainbow

Rick Steves

Mr. Rogers

Between the Lions

Patti Smith

OG History/Discovery Channel

Bill Nye

[mopeymousey]

Being an American is so fucking weird y'all.

Our government and economy has not worked well since, at best, the 80s.

Our two party system is so deep that you can walk outside and know from a 5 sec interaction who someone voted for usually.

Going from state to state (sometimes an hour drive tops) means you go from something being totally legal to something being a felony. Weed, abortions, guns...

If you go to a gathering of people, you will think about safe exit plans for if there is gunfire. School, concerts, church, movies, fairs, parades, hospitals, office buildings... I don't go to big events much anymore.

You just accept that 40+ hours a week with an at-will employer gives you a 10% discount on healthcare that will bankrupt you anyway.

You can either be well off enough, mentally and financially, to take care of yourself or you can be like the rest of us who are too poor and beaten to do anything but eat from the overpriced overprocessed trough of American food and become the fat American stereotype

Oh, and the rest of the world is mocking us because our parents and grandparents were complete fucking shitheads who talked so much game but left their kin in the god damn mud. I don't blame y'all for hating us, but it's lonely.

To attempt to balance this post out though: deep fried corn dogs, americana music, central air conditioning, pop punk, baseball, Hamilton, Fahrenheit (it's better for weather descriptions fight me), Disney world, and my grandma who grew up as a potato farmer and is now a wealthy single lady who smokes weed on her porch and yells at ducks.

Gods help the USA 💀🎆

[tvguidancecounselor]

TV Guidance Counselor Episode 576: Xanthe Pajarillo

April 12-18, 2003

This week Ken welcomes director-writer, podcaster and Air Force veteran Xanthe Pajarillo.

Ken and Xanthe discuss Ken's TV Guide collection, living in Germany on a military base, AFN (Armed Forces Network), catching US shows on German channels, TV via word of mouth in school, Comedy Central, being obsessed with SNL, getting shows a week late, Blade, Scooby Doo, being an only child, watching horror movies with your parents, Xanthe's podcast Kindergeist, It!, how strange brains are, the nonstop 9/11 support the troops barrage of 2001, being obsessed with the micro, hoping SNL doesn't get preempted, how Millennials really like rules, Reality TV, the terror of chaos, pranks, Xanthe's Scream influenced prank phone calls, the wisdom of Mr. Rogers, the great anti-war horror stories, Deathdream, PTSD, Dog Soldiers, Ken living in London in 2003, the Iraq War, Zoolander, cult films, Billy Madison, Adam Sandler movies, not seeing Dirty Work on a date, Virginia, taking Stephen King for granted in New England, Filipino horror, Legally Blond, Hopping Vampires, Manananggal, twist endings, movies on TV, being obsessed with South Park, Ken's inability to remember the name of the 2001 movie The Forsaken, early 2000s horror and CGI, Making the Video, pop punk, Green Day, being in punk rock bands, playing guitar, the post slasher pre-Scream era of horror, Bruce Campbell, Evil Dead screenings, naps, American Idol, William Hung, The US vs. UK, Doctor Who, College Radio Industrial music shows, Great Women on Comedy, I Love the 80s, Julia Louie Dreyfuss' shows between Seindfeld and Veep, "women aren't funny", Jamie Kennedy, Ken's love of Jennifer Love Hewitt, how Cadet Kelly isn't what basic training was really like, basing your life choices on Hilary Duff movies, Jeering war, hating Matt Lauer, March Madness, human selfishness, not lionizing serial killers, poor Jeff Fahey's Body Parts, the best worst video game movies, Double Dragon, House of the Dead, Splatter Royale mode in Evil Dead the game, being insulted by tweens when playing video games, Interview with the Vampire, Tagalog, The Fangoria Chainsaw Awards, directing the awards show remotely, and making long lists of horror movies we  need to see. 

Check out this episode!

[garbage-today]

CDMX - Trotsky Time

19 March, 2023

Whether you think of Leon Trotsky was cool and good or one of history’s greatest monsters (lol get out more), he was a guy of considerable impact. There’s a very strong argument to be made (1) the October Revolution and (2) the ultimate victory of the Bolsheviks - and the subsequent formation of the USSR - would simply have not happened without him. He was their strongest orator and turned the Red Army from nothing into a force that was breathing down the necks of Central Europe.

And there is absolutely no denying this: he looks like Jean-Ralphio (played by Ben Schwartz) from Parks and Recreation.

Anyway, his power struggle with Stalin having Not Went Well, he fled repeatedly until finally finding a home in Mexico. The same president that nationalized their oil industry, did a bunch of land redistribution, and invited in Republican exiles from the Spanish Civil war - Lázaro Cárdenas - welcomed him. Cool dude, still one of the most popular Mexican presidents.

Here is Trotsky with Diego Rivera, who did that mural I posted about earlier that punked the Rockefeller Center.

Trotsky was assassinated by Stalin in his home in Mexico (just south of Mexico City). After his wife died his home was made into a museum and he was buried there.

Here is an unflattering picture of me next to his grave.

This photo is not an endorsement. I am not a Trotskyist. I might be of the left (relative to most Americans) but Trotsky would have absolutely purged my ass in his time.

[dan6085]

Music is an art form that has the power to connect people and evoke strong emotions. One of the most influential and enduring genres of music is rock. The origins of rock can be traced back to the 1950s, when a blend of African-American rhythm and blues and country music became popular among young people in the United States. Over time, rock has evolved and diversified into numerous subgenres, each with its own unique sound and characteristics.

One of the defining features of rock music is its emphasis on the electric guitar. From Chuck Berry's signature licks to Jimi Hendrix's fiery solos, the guitar has played a central role in shaping the sound of rock. The bass and drums also play important roles in providing the driving rhythm that propels the music forward. Vocals are also a key element of rock, with singers often using their voices to convey intense emotions and powerful messages.

One of the earliest forms of rock music was rock and roll, which emerged in the 1950s and was characterized by its upbeat tempo, catchy melodies, and danceable rhythms. Artists like Elvis Presley, Little Richard, and Chuck Berry helped popularize this new style of music, which quickly became a cultural phenomenon. As rock and roll evolved, it gave rise to other subgenres, including surf rock, garage rock, and punk rock.

In the 1960s, rock underwent a period of tremendous innovation and experimentation. The Beatles and the Rolling Stones helped popularize the British Invasion, bringing a new sound and style to the genre. Psychedelic rock emerged, featuring mind-bending lyrics and unconventional sounds. The 1970s saw the rise of heavy metal, with bands like Black Sabbath and Led Zeppelin pushing the boundaries of what was possible with loud, aggressive guitar riffs and thunderous drumming.

The 1980s saw the emergence of new wave and alternative rock, which incorporated elements of punk, reggae, and electronic music. Bands like the Cure, the Police, and U2 helped define this new sound, which became popular among a new generation of music fans. In the 1990s, grunge became the dominant subgenre, with bands like Nirvana, Pearl Jam, and Soundgarden bringing a raw, stripped-down sound that spoke to the disillusionment and angst of the era.

Today, rock continues to evolve and change, with new subgenres emerging all the time. Some of the most popular subgenres today include indie rock, emo, and post-rock, each with its own distinct sound and following. Despite these changes, rock remains one of the most beloved and influential genres of music, with a rich history and an enduring legacy.

In conclusion, rock music has had a profound impact on the world of music and popular culture. From its humble origins in the 1950s to its diverse array of subgenres today, rock has always been a reflection of the times and a powerful force for change. Whether you're a fan of classic rock, heavy metal, or indie, there's something for everyone in the world of rock music.

[dritaxs]

Heads will roll edm

#Heads will roll edm plus

The fourth onslaught of acts would see an interesting combination of star power and unfettered punk-infused rage, culminating in the most eclectic assortment of acts of the first day as the light began to fade. modern groove trustees and relative newcomers Bad Wolves, who made a decent showing with their darker reinterpretation of The Cranberries' "Zombie" and fist-raising bangers like "Killing Me Slowly", among a few other offerings from their catalog. Afterward, the Monster Energy Stage would become the temporary home of L.A. Meanwhile, the quirky splicing of atmospheric post-rock and djent-steeped alternative metal in Spiritbox brought a harrowing industrial curveball into the mix with compact offerings like "Holy Roller" and "Hurt You" from the Zyn Stage.

#Heads will roll edm plus

The hard rock meets EDM fusion act and 20 years plus veterans from Michigan dubbed Pop Evil would live up to their name as they showcased their niche from the Monster Energy Stage, with the Breaking Benjamin meets dubstep charms of opener "Eye Of The Storm" and the club meets punch vibes of "Trenches" eliciting the loudest cheers. The raucous response from the fans about as deafening as the riff work of Jonathan Donais and Matthew Bachand as this early trailblazer of American metalcore pulled off a stunning reunion display despite being defunct for seven years.Īs the afternoon marched on, the tone would then take a smoother and more accessible quality as the 3rd wave of bands entered the fray. Not to be outdone, fellow Bostonian riff maestros Shadows Fall struck a similarly forbidding tone with a more orthodox, Swedish-informed bent from the Zyn Stage, spearheaded by the expert crowd work and massive dreadlocks of Brian Fair. Hailing from the other central hub of the American Revolution, Massachusetts and bringing that vintage blend of uncompromising hardcore aggression and Gothenburg-forged melodic death metal, Boston's Unearth brought the fury with the intensity of the very sun above from the URW Stage, instigating a massive mosh pit with mad thrashing riff machines like "This Glorious Nightmare" off their 2006 breakout album III: In The Eyes Of Fire and the In Flames-inspired fan favorite from 2004 "Endless". The flavor of the afternoon air would become darker and heavier as the opening acts exited their respective stages and made way for the heavier hitters. A similarly infectious and accessible tone with more of a soulful blend of rap and rock would emerge from the Zyn Stage courtesy of Texas-born late-2000s upstarts Fire From The Gods, led by the husky baritone and charismatic stage presence of AJ Channer, they enjoyed a vibrant reaction from the audience as they cycled through a set of heavy-ended bangers with the forceful "The Voiceless" and closing crusher "Excuse Me" being the standouts. The dual course recipe of saccharine melodic hooks and ugly hardcore aggression would rule the opening moments on the Monster Energy Stage as metalcore act A Skylit Drive, which was comprised of its original mid-2000s lineup and stuck mostly to older material on one of their early appearances following years of legal disputes with former members, hearkening back to the days when Atreyu and Bullet For My Valentine were ruling the charts. As the grounds of the Virginia International Raceway in Alton began to swell with enthusiastic spectators, the air would become saturated by a highly eclectic array of sounds from each of the venue's five stages.