Yes, but a big fan of Cyndi LAWApur.

Yes, I am aware of this. As a late-'80s college student with three lazy, dope-smoking roommates, I think I've seen this movie—start to finish—at least 30 times.

Oh. Well the entire point of psychedelia is to search for the new, unique, and bizarre, so when you become predictable and complacent, you're not really accomplishing your goal, are you?

You can check out any time you like, but you can never leave.Unless you pay the $17 per day self-parking fee. I'm sorry sir, it IS in your agreement. No sir, it's NOT valet, that's $25 per day. It's not my place to say whether or not it's a rip off, sir. I'm sorry you feel that way, but I hope you choose to stay with…

That's funny; I considered describing them as "the AC/DC of psychedelia."

So… is this schtick getting a bit old for anyone else? I mean, I saw them in 1989 and they were doing basically the same thing. It was quite revolutionary at the time, but they've kinda done the glitter-strobe-weird-for-weird's sake thing to death at this point, me thinks.

I was there. And indeed it was, for no other reason than all the stoned hippies who came to see Neil Young were absolutely horrified by Sonic Youth. I have never seen more denim vests and ponytails running for the lobby in my life.

Beat Happening. Wow, they really are horrible, but goddamn did I crank the hell out of that album in the '90s every time I got drunk. (Which was often.) I think I just hated being in Miami so much at the time that anything I could do to inflict pain on the populous made me giddy.

One thing I like about the Toasters were they were their own bouncers.  I was at their show in Gainesville, FL in 199something with Less Than Jake and some fucked-up idiot was completely out of control, absolutely ruining the show.

They can, but they shouldn't make one of the few viable, well-designed outlets for music their scapegoat, because it's bullshit. Spotify isn't the problem, it's the solution.

Which brings up another point—musicians have never been a been in a better position to control their own destiny. There's no reason to be signed to a label since you can do everything the label does by yourself—you don't need distribution, you don't need physical recordings (CDs, etc.), and at this point, I'm not even…

I'm curious why you think Spotify is awful. I've found it to be fantastic. It's only drawbacks IMO are the artist attrition (songs disappear) and that you can't stream an account to more than one device simultaneously. But in terms of the interface and the ease of use, I think it's unbeatable—it sure as hell beats…

See, that's the point: The genie is out of the bottle. The day the technology to easily download digitized music emerged, the business model that worked for 80 years went out the window because supply and distribution no longer mattered—anyone with a computer can download as much of anything as they'd like.

Yeah, that's my beef with musicians when it comes to services like this: A complete inability to understand any business model other than the traditional—and obsolete—sell albums, make money model.

If you tied that into my avatar, +20.

What they should REALLY do is say, "Look, you have no chance of getting into college. Here's a list of states with strong unions. Here's a list of trades. Match two, and get to work."

Ain't you never heard a my band Third World Lover? You ain't never heard my song Whipped Cream? Whaaaaaped Creeeeaaaaaaam! Rubbbbed awl ovah yo bodAAAAY!

I saw the Flaming Lips—in full-on Oh My Gawd-era, 100,000 pulsing Christmas light weirdness—open for Candlebox. That was interesting.

The thing is that Vernon Reid is actually a really heavy jazz player, which is why his technique alienates a lot of people; his tone pisses off jazz folks and his solos weird out rockers. Check this out for a pretty cool melding the two; he makes a bit more sense in this context:

OH. I initially read "Staind is highly underrated." Which is not the case.