- Secession Planning in California: CALEXIT is Russia’s Ultimate Objective
- From Lance Armstrong to Trump: The Rise & Fall of the Deified Narcissist
- Moscow on the Potomac: February is Going According to Putin’s Plan
- The Week in Bad Poems: The Ballad of Trump and Putin
- Participation Trophy Politics
- Reading Malcolm X in Texas
- We Can Fight Lies with Facts…Until They Take the Internet Away
- How to Prepare the Press for War
- Dah, Donald: Russian Blood Money and the FBI’s Case Against Trump
- Tiny Crowds, Tiny Hands vs. Huge Crowds, Huge Hearts
- 5 Tips for Surviving as Female
- Playing the Donald Trump Game
Support The Weeklings
- The 50 Greatest Superhero (and Villain) Names of All Time
- The 50 Greatest Literary Character Names of All Time
- The 50 Most Drug-Addled Albums in Music History
- The 50 Greatest Band Names of All Time
- The 50 Greatest Civil War Names
- How to Get Rid of Donald Trump: An Action Plan
- The 50 Greatest Pro Football Names of All Time
- From Axl to Zappa: The 50 Greatest Musician Names of All Time (Side A)
- The 50 Greatest Unrequited Love Stories Ever
- Song Beneath the Song: “Casimir Pulaski Day” by Sufjan Stevens
- Song Beneath the Song: Led Zeppelin’s “Stairway to Heaven” as Tarot Card Reading
- Song Beneath the Song: “The Reflex” by Duran Duran
Tag Archives: u2
Everyone else may hate U2, but Kurt Baumeister will always love them in spite of themselves. Continue reading
Even if you don’t know Brian Eno’s music, you’ve still heard him, in groundbreaking clients Talking Heads, Bowie, U2, and Coldplay, not to mention the 3.5 second chime that heralds the opening of every Microsoft Windows 95 program. (Written by Eno on a Mac.) How did Eno grab the attention of the iconic before they were icons? Guest Weekling Mark Donato answers that question by taking you back to Eno’s fabulous, way-ahead-of-its-time solo work, songs that now sound like blueprints for so much quality late 20th/early 21st century pop. Because they are.
Robert Burke Warren goes deep into his own story to talk about the persistence of God in pop, and how and why non-believers and doubting Thomases still go for it.
In which James Greer, then a music writer at SPIN, moves in mysterious ways.
We know what Sean Beaudoin’s “666 Mix” is. Now the rest of the Weeklings crew — Elissa Schappell, Alex Clark, Greg Olear, Jennifer Kabat, Dennie Wendt, Janet Steen, and Diana Spechler — reveal their own private soundtracks to Hell.