In 1970, Richard Kabat saw an opportunity for an entertainment-centric weekly and launched Cleveland Scene with a loan from his brother. Then he and his inexperienced staff held on long enough to catch one of the last waves of money...
It's become reasonable to suspect that if you're rich enough or famous enough, there's little you can be put in prison for. Combine the two, and you couldn't be convicted if you wanted to -- even if you committed your crime on videotape.
Labels and artists say imeem.com is lighting up their radar lately thanks to the San Francisco tech company's reinvention of the humble mixtape. Each month 22.5 million people log in and create playable lists of their favorite tracks (muxtapes), then share them with their friends via e-mail, MySpace, Facebook, and instant message.
Always sporting fresh street gear and the nickname "A Fly Guy" shaved into the side of his head, he's not hard to spot, and it's easy to be attracted to his energy everywhere he goes. It's all a part of the branding that makes Rahsaan one of the hottest artists to watch in South Florida at the moment.
In a way, The Cleveland Confidential Book Tour is just like the old days, when Pagans frontman Mike Hudson, Dead Boys guitarist Cheetah Chrome, and Human Switchboard frontman Bob Pfeifer would pile into a van, drive across the country, and convince occasionally indifferent audiences to listen to them. They're even calling the readings "gigs" -- gigs with less equipment, as Pfeifer says.
Most fans think Mr. Gnome's music rocks; some find it downright erotic. Credit singer-guitarist Nicole Barille's hot-and-bothered vocals, which bring to mind that diner scene in When Harry Met Sally, where Meg Ryan showed off her fake-orgasm skills.
Lately, like scores of other music critics, I've been getting into some "hipster-metal bands," so named because guys like us listen to them. Real metal dudes hate people like me. And that certainly includes D.X. Ferris, my co-worker and author of a new book about Slayer's Reign in Blood, which is apparently some sort of classic metal album.
Like the majority of “Milk Money,” its longest track stubbornly develops a recognizable theme and rhythm. Listeners need patience to get there. The album’s cover might be a bit more concretely rooted in the world we all inhabit, but musically? It’s greatly transcendental moments of manipulated keys and surprising, dropped in edits.