We stand in solidarity with those fighting racism and fascism in the streets of Charlottesville and beyond. We believe it is time for the removal of all monuments to the confederacy and the racism for which they stand. We must put these symbols of white supremacy into places where the proper context can be provided for what they actually are; outdated, backwards, and antithetical to what we believe the values of humanity should be. It is past time to have real conversations on systemic racism and America’s history of it. There are museums memorializing the Holocaust all across Europe, while America continues to try to hide from its racist and murderous past and present.
In March of this year I was lucky enough to photograph the Japandroids and Craig Finn in Seattle on Saturday, March 18th at the Neptune Theater. It was a sold out show with no barricade for the photographers to be in front of, so things definitely got rowdy when the Japandroids started. You’ll find the gallery below.
Few albums sound more like growing up to me than Matt Nathanson’s Some Mad Hope. Last year, for my 26th birthday, I wrote a blog post where I chose one defining song from every year I’ve spent on the planet. “Car Crash,” the opening track from Some Mad Hope, was my pick for 2007. For me, that song—and this record in general—marked the end of youthful innocence and the beginning of something a little more complex and a little less black and white. It’s tough to imagine a better record for that moment in life than Some Mad Hope, which effortlessly pairs pop hooks and anthemic arrangements with emotionally weighty lyrical work. What is tough to process is the fact that this record—the one that marked the start of my journey from youth to adulthood—is now 10 years in the rearview.
Some Mad Hope would prove to be Matt Nathanson’s breakthrough, but it wasn’t his first record. On the contrary, in Nathanson’s catalog, Some Mad Hope holds the status of being the sixth LP. He’d moved the needle slightly in the past. His cover of the James hit “Laid” opened American Wedding, the final film in the initial American Pie trilogy, and his fifth album, 2003’s Beneath the Fireworks (produced by future Springsteen collaborator Ron Aniello) spawned reasonably well-known tracks like “I Saw” and “Curve of the Earth.” But until this record, Nathanson tended to be known as an artist who put on a fantastic live show, but could never quite translate the energy and fun of his concerts into compelling studio records.
None of us were really like psyched on it. Usually when you go in to record, it’s one of my favourite parts of being in this band – when you record it’s the real deal and you just get this feeling, man. But for some reason it just wasn’t there this time – the first time around.
It was an odd feeling because the songs were really good but it just didn’t measure up for some reason, none of us were psyched. So we thought about it for two months and then re-did them – we both changed and kept a lot, and now we’re psyched on them! It’s been a rollercoaster of emotion and kind of crazy.
White supremacist site the Daily Stormer needs to find another domain provider after getting the boot from GoDaddy. In a tweet, the company said “We informed The Daily Stormer that they have 24 hours to move the domain to another provider, as they have violated our terms of service.”
They tried to move to Google, and Google rejected them as well:
Google has canceled the domain registration for The Daily Stormer, a company spokesperson confirmed Monday.
“We are cancelling Daily Stormer’s registration with Google Domains for violating our terms of service,” the spokesperson told Business Insider.