Week in Review: Disney Upsets Joy Division Fans with Mickey Mouse T-Shirt
By Rolling Stone
January 27, 2012 5:00 PM ET
Courtesy of Disney
Joy Division is well-known for currently being a single of rock’s darkest, most intense bands, so it comes as no shock that their followers didn’t have a lot of a sense of humor about Disney promoting a Mickey Mouse t-shirt based on the cover of their 1979 classic Unknown Pleasures. Following some outrage from followers – as properly as some bitter remarks from bassist Peter Hook – Disney pulled the item, even though the shirt is now accessible at an inflated value on eBay.
Pictures: Major Girls on the Cover of Rolling Stone
Album review: Lana Del Rey’s ‘Born to Die’
Were we permitted a glimpse of Lana Del Rey’s imaginary purchasing checklist primarily based on the references within her debut album, “Born to Die,” we would see, scribbled in pen with each “i” flower-dotted: Diet program Mountain Dew, cocaine, Bacardi rum, a white Pontiac, heart-shaped sunglasses, a Bugatti Veyron sports vehicle, cigarettes, a Jesus for the dashboard, Cristal champagne, Chevron gas, maraschino cherries (for tongue-tying the stems, of course), Pabst Blue Ribbon on ice, and cherry Schnapps.
You can virtually see the self-proclaimed Lolita singer, 25 but oozing teen-aged naughtiness, strolling via the aisles of Target in quick shorts with faux-swagger, placing signifiers into her cart. Best acknowledged to music followers as the voice and image behind her breakout hit and video, “Video Video games,” but to the basic public for her significantly-talked about look on “Saturday Night Dwell” a couple of weeks back, she’s shaking her derriere, licking her lips and every after in a even though “accidentally” dropping something so she can bend more than to retrieve it. It really is a place-on, and a transparent plea for interest, and a small bit unhappy to view in a cute sort of way — like the worst elements of “Born to Die.”
A single of the wonderful pop music mysteries of the past year is exactly how a youthful fiction known as Lana Del Rey, whose music has an odd retro-futuristic vibe woven by means of it, moved from nowheresville to “SNL,” and how “Born to Die,” which comes out Tuesday by means of Interscope Records, landed at the best of the year’s most anticipated release pile. Budding singers with better songs and a greater voice have spent their lives hunting for the variety of ink that Del Rey, born Elizabeth Grant, daughter of a domain-title magnate, has received.
Album Review: Does Tim McGraw’s ‘Emotional Traffic’ get in gear?
Credit: Curb Records
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Week in Review: Revisiting David Bowie’s Ascent to Stardom as Ziggy Stardust
By Rolling Stone
January 20, 2012 5:25 PM ET
David Bowie performs during his Ziggy Stardust/Aladdin Sane tour in London.
Michael Putland/Getty Pictures
In the most recent matter of Rolling Stone, Mikal Gilmore looks back on David Bowie’s extraordinary rise to superstardom as Ziggy Stardust and his subsequent career as rock’s greatest changeling. In an excerpt from the story, Gilmore particulars how a conflict with Led Zeppelin’s Jimmy Web page had the singer heading off to Los Angeles to examine occult texts while subsisting on a diet regime of peppers, milk and cocaine.
Review: Bruce Springsteen’s new single, ‘We Take Care Of Our Own’
Credit: Columbia Records
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Album review: Steve Aoki’s ‘Wonderland’
How effortless the world seemed on the hipster-Hollywood club axis in the mid 2000s.
Then of course, America’s economic system went to hell, dance music grew to become mainstream pop’s lingua franca, and micro-website celebrities sprouted anew. A Steve Aoki solo album in 2012 evokes the weird sensation of being nostalgic for an era only 5 many years departed.
But knives down, get together men and women. “Wonderland” really should also be a reminder that Aoki truly did make some significant contributions to the ways we dance and party today. As a DJ, he gave a lot of L.A. indie children their first taste of decadent electronica and arguably laid the tracks for today’s onslaught of rough-edged dance music.
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Album review: Guided by Voices’ ‘Let’s Go Eat the Factory’
Handful of are much better than Guided by Voices at creating potent, wealthy, catchy rock songs. During the 21 razor-sharp chunks o’ rock over 41 non-halt minutes on “Let’s Eat the Factory,” the indie progenitors whose lo-fidelity, highly addictive sound has attracted a single of the most intensely devoted fan bases this side of the Grateful Dead somehow embody the entirety of rock history. At its ideal the Ohio group recalls a blend of early Who power, traditional Beatles harmonies, and, as on the fantastic Pleasure Division riff-off, “Cyclone Utilities (Keep in mind Your Birthday),” a keen sense of punk and post-punk historical past.
As is often the situation with lead singer Robert Pollard and Guided by Voices, the lyrics are, to put it generously, obtuse. When you can make out the words — the production style is flat and nearly monophonic — they often pour forth evocations or, as others may phone it, abstract gibberish. Like on “Imperial Racehorsing,” the lines “animal action, animal taste/animal traction, all above the location/animal virtue, all above my face” is followed by the non sequitur chorus, “Now she’s fighter, now she’s fighter.”
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