An “anti-wrinkle” vibrator cause a plane to be evacuated at the Sunport yesterday.
NPR's newest documentary Noteworthy follows musician Miguel in-depth to learn about his creative process and influences.
Soooo, gonorrhea is nearly untreatable now.
An invisible epidemic has been sweeping across the nation affecting kids.
Do you love the '70s?
Tired of Earth and all the shit we have to deal with? Well, pack your bags, because it looks like you have an option to leave.
My obsessive-compulsive aural tendencies have undoubtedly been noted by careful—and dare I say, patient—readers who’ve been inundated with Halloween, Xmas, Valentine’s Day and themed playlists of all demoninations during my brief tenure. And now ... cover songs. Whether you love ‘em or hate ‘em, they’ve been around forever and appear to be here to stay. Nihil novi sub sole, eh? Refresh your cover memory with this week’s music feature, The Art of the Cover Song. Below, listen to a playlist of covers created by New Mexicans like Veery (Jessica Billey), Mama Coma (Marisa Demarco), The Rondelles, Steve Hammond, Cobra//group, Treadmill, Mistletoe, The Handsome Family, The Rivet Gang, Ant Farmers, Knife City, The Morticians, Sad Baby Wolf and Strawberry Zots.
This week’s Music to Your Ears dishes up the 411 on shows in genres ranging from poppy garage-punk to doomcream R&B to indie rock to folk. Listen to tracks from featured acts below. Synchro Studio • Low Culture • Pregnant, Again • Harbors • Downplay Music • Sat Jan 12 • 7:30 pm • $6 • ALL-AGES!
You never know where pianist Tom McDermott will go haring off to next. That’s because he often hasn’t a clue, either. A daring and inventive improviser, he’s more than willing to go striding (or ragging or rumba-ing or tango-ing) through doors that lead who-knows-where. In the middle of a Scott Joplin piece, he might find an opening that leads straight to James Booker and start mixing the rag’s more straitlaced syncopation with the saucy funk of New Orleans R & B.
New Orleans pianist/composer Tom McDermott has never played in a bordello (although he could once see one from his home), but he has absorbed the New Orleans piano professors’ traditional approach to the eighty-eights. That tradition owes a significant debt to the Big Easy’s classier houses of ill repute, which expected the solo pianist to reproduce all the excitement of a small combo—but at a much lower cost.