Now, Now have announced some new tour dates.
WhatCulture: 10 Hidden Clues Found in Classic Movies
Brendon Urie of Panic! at the Disco has finished his run on the Broadway musical Kinky Boots. He is also auctioning off a signed guitar on eBay to raise money for Kinky Boots co-star Eric L. Summers who is battling cancer:
All proceeds will go directly to Eric L. Summers (our fellow Kinky Boots cast member who is battling cancer) to help him pay his medical bills. If you live in New York, you can pick it up directly from the Al Hirschfeld Theater and save on shipping!
Hot Topic have marked down a bunch of vinyl by 30% on their webstore.
Earlier this year, when Canadian country singer Colter Wall released his self-titled debut record, it felt like someone had caught lightning in a bottle. How was it possible that this young, 21-year-old kid could produce the kind of booming, haunting baritone voice he sang with? How could he get closer to sounding like Johnny Cash than anyone in Nashville, when he’d only been seven years old when Cash passed away? It felt like Wall had the kind of once-in-a-generation voice that was going to make him a country music legend. And then you got to the penultimate track, a take on the old German folk song “Fraulein,” and heard another breathtaking voice stealing the show.
That voice belonged to Tyler Childers, an unheralded (at least until now) singer/songwriter hailing from the state of Kentucky. Like Wall, Childers is young. He’s 26 now and has been touring the southern and midwestern United States since he was 20. But Childers doesn’t have Wall’s cavernous baritone voice. Instead, he’s got a gritty, versatile tenor, equally adept at selling loud honky tonk rave-ups and tender, lovelorn ballads. It begs the question: what kind of deals with the devil did these two young troubadours have to strike to get such distinctive instruments so early in their lives? And if country music has these kinds of remarkable young talents hiding around the fringes, then why the hell are we putting up with nothing vocalists like Jason Aldean and Thomas Rhett?
In our premiere episode, we discuss the relationship between nostalgia, reunions, and coming back to artistic creations after quite some time during these not-so-optimistic times.
Why exactly do certain records get dismissed by one generation only to find a whole new one appreciating it for different reasons? Why do we want bands to come back so we can experience something we may have missed being a part of?