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Foo Fighters, Imagine Dragons, The Roots Streaming Super Bowl Concert

Foo Fighters

Foo Fighters

As someone who doesn’t really follow sports, the Super Bowl kind of snuck up on me this year. And while you’re all getting ready to gorge on chicken wrapped in bacon (yum) and cheering for your favorite team, I’ll be looking forward to one thing, and one thing only:  a series of concerts by Foo Fighters, The Roots, and Imagine Dragons which will be streamed live via RollingStone.com. The Roots will kick things off tomorrow night with a program dubbed “The Roots Present Hip-Hop NYC,” featuring appearances by Run-DMC, Busta Rhymes, and more. Friday will bring Imagine Dragons to the stage at 12 a.m. EST, and Saturday belongs to the Foo Fighters.

Perhaps the coolest part of all of this, besides the actual streaming, is that the performances will be taking place on an aircraft carrier stationed in the Hudson River. Check it all out beginning at 11pm EST tomorrow night.

More like this:

The 5 Best and Worst Music-Related Super Bowl Commercials Of All Time
OutKast, Foo Fighters, And More At Delware’s Firefly Music Festival
The 2014 Grammys Were Long: Best Performances And Winners List

 

Gettin’ Noisy in Boise

Niño Lobos

Not too long ago, Niño Lobos (translation: Wolf Boys) were just two guys, delivering tortillas by night and taking college courses by day. But then they decided to start a band. Now, like Michael J. Fox in Teen Wolf, they’ve become something fierce. The Boise band’s youthful blend of hip hop and electro pop claws into your brain with hooks upon hooks. “Hey Girl” has got a fat funk bass line, stabs of reverb guitars and some serious girl problems. “She got me like Stiffler in ‘American Pie’ / Scratch me up like Wolverine.” But it’s “Taking Over Stereos” that could be and should be a monster hit. Part dance rock, part hip hop, the track is a free-flowing, adrenaline-fueled blowout. Over a compressed, percolating beat the duo name-checks anyone from Cypress Hill and Jonah Hill to Lupe Fiasco, Mr. T, Gorillaz, Run-DMC and more. If Niño Lobos keep dropping tracks like this one, some of those dudes will be name-checking them.

Metal Monday: Metal Fusion

Metal, as a genre, is pretty distinct and not very easily digestible by most people (but you probably already knew that). From time to time, there are some acts that crossover to other genres or slip into the mainstream and start to gain some traction. Alongside the crossover acts are bands that decide they like to play metal as well as another genre–so much so that they decide to play both simultaneously. Over the years this has led to some very interesting results; some awesome, some not. Metal fusion: apparently a thing.

What are the most prominent and successful styles of music fused with metal, you ask? No fusions so far really seemed to have caught on to become a movement, but the one that could is jazz metal. Both jazz and metal seem to have a perception of and focus on extremely proficient musicians, soloing and grand showings of musicianship. Mostly populated by solo instrumentalists (like shred guitarist Steve Vai, for example), many of these artists are also very closely related to their “classical metal” counterparts like Yngwie Malmsteen. Jazz metal isn’t solely filled with solo acts, however, as bands like Exivious and Fredrik Thordendal’s Special Defects prove. As an aside, some musicians just choose to jump ship on metal to join a jazz fusion band, such as Chris Poland (ex-Megadeth) joining the jazz fusion band Ohm:.

Behind jazz and classical fusions with metal, metal fused with electronic dance music has taken a very strong hold in the last handful of years. Born from the industrial metal movement that started mostly in the ’90s with bands like Nine Inch Nails, the current trend takes the sound a bit farther. Bands like Enter Shikari feature heavy amounts of dance rhythms and synthesized keyboards alongside their hardcore-tinged sound one their debut album Take To The Skies back in 2007. More recently, Earache Records band The Browning dropped their debut album Burn This World which features and even heavier amount of metal and electronic music smashed together. The Browning’s song “Bloodlust” is a fantastic illustration of this juxtaposition, switching quickly and often between trance/house and deathcore.

Some fusions, however, are not taken so kindly. I’m sure we all remember rap metal, right? The year was 1987, and the boys in Anthrax and the fellows in Public Enemy decided it would be awesome to do a song together: and it was. Theresulting remake of “Bring The Noise” was great. A couple years later, Rage Against The Machine dropped their debut, and that, too, was awesome. Unfortunately many of the bands inspired by these acts turned out to not be so great,  (See: Limp Bizkit or Crazytown, who were both very famous for a couple years).

That’s not all, either, some other metal fusion genres include funk metal and folk metal.  Bands like Machinae Supremacy and Skindred even come up with their own metal fusion subgenres (Machinae Supremacy call themselves “SID Metal” and Skindred “ragga metal” by the way).

OurStage even has a handful of solid acts that pair metal and other genres together to create very unique music, including Brothers Fighting, Mara, MAG Project, The Living, The Last Barbarians and LaughingSkull. Check out some of their tunes in the player below!

Sound And Vision: Strange Bedfellows — The Best of Music’s Unlikely Collaborations

“I get high with a little help from my friends,” Ringo Starr sang on the Beatles‘ 1967 classic. These days, so do many of music’s top stars. Two’s company, and so is three and sometimes four. The more the merrier, the higher and higher they get.

On the charts, that is.

In the Top 40 of Billboard’s Hot 100 for the week ending December 10, seventeen songs were collaborations between separate recording entities. Four of them featured Drake, and three apiece featured Rihanna and Nicki Minaj, who both appeared on tracks with Drake and with each other. But will.i.am featuring Jennifer Lopez and Mick Jagger—and debuting at No. 36 with “T.H.E. (The Hardest Ever),” which the threesome performed on the November 20 American Music Awards—was probably the one that nobody saw coming.

Old-school Rolling Stones fans must be cringing at the idea of Jagger going anywhere near Lopez and will.i.am so soon after Maroon 5 featuring Christina Aguilera went to No. 1 by invoking his hallowed name on “Moves Like Jagger.” But for a sixty-something legend like him, hit records—even if in name only, a la Duck Sauce‘s GRAMMY-nominated “Barbra Streisand—are a near-impossible dream unless they’re in tandem with other, often younger, stars.

Continue reading ‘Sound And Vision: Strange Bedfellows — The Best of Music’s Unlikely Collaborations’

Sound And Vision: How Mainstream And Cutting-Edge Learned To Co-Exist In Pop Harmony

A few weeks ago, Melbourne hosted the TV WEEK Logie Awards, which is like Australia’s Emmys, only with more reality TV, more cooking shows and music. Katy Perry and Maroon 5 represented American pop, and then there was rising UK star Jessie J, representing… well, I’m still not 100 percent sure. As she stalked the stage, decked out in glam-Goth basic black, performing her No. 1 UK hit “Price Tag,” my friend peeled his eyes away from the television, turned to me and announced, “Her look is cool and alternative, but her music is so lame and poppy. They don’t match at all!”

It’s a discordancy that’s starting to take over. Pop and rock and hip hop used to hang out on different sides of the playground, barely acknowledging each other, with the rare, revolutionary exception (think Run-D.M.C.‘s 1985 smash cover of Aerosmith‘s “Walk this Way,” featuring the vintage rock band on vocals and in the song’s video). If your music was too mainstream, strictly middle-of-the-road (a condition that afflicted neither Run-D.M.C.’s nor Aerosmith’s tunes at the time, which perhaps is why the hit sounded so effortless), there was no changing lanes. You could dress as wild as ’80s fashion would let you, but you would always be a pop star. Chart-toppers had little chance of drumming up street cred or working with artists whose tunes dangled from the cutting edge. Why do you think Duran Duran, one of the most influential bands of the Reagan era, still hasn’t been nominated for the Rock & Roll Hall of Fame and is only now, more than two decades past its prime, publicly earning the respect of well-respected men like David Lynch, who directed the band’s recent American Express online concert?

Suddenly its cool to be alternative and pop. We’ve got Katy Perry mingling with Snoop Dogg and Kanye West on record and with bad-boy British comic Russell Brand in holy matrimony, and Ke$ha singing some of the poppiest songs on the charts and casting James van der Beek, one of Hollywood’s most white-bread actors, in her video but tarting it up just enough to come across as one of the coolest girls in school. (Ever the trendsetter, in the ’80s, Madonna had the good sense to tousle her image by marrying bad boy Sean Penn.) Meanwhile, Rihanna—a pop princess if ever there was one—holds court with Eminem and sings about how she’s “Hard” (as Young Jeezy raps in her defense).

Lady Gaga dresses like a freak and breaks every sartorial rule while singing what is basically the rave music of every ’90s teenage dream. Her former video costar Beyoncé alternates between straight-up pop (“Halo,” “Sweet Dreams”) and darker hip hop (“Diva” and current single “Run the World [Girls]“), while A Rocket to the Moon and Wilco singer Jeff Tweedy are among those who have covered “Single Ladies (Put a Ring on It).” Try This (her 2003 flop that, in my opinion, is her best album) aside, Pink‘s ultra-commercial music has never mirrored her rock-chick attitude. Even Coldplay, one of the biggest rock bands on the planet, second perhaps only to U2, collaborated with, of all people, Kylie Minogue on the 2008 World AID’s Day charity single “Lhuna.”

As with so many recent musical trends, the current shift toward the mainstream and the cutting edge making strange bedfellows began with hip hop. If a roguish rapper like Eminem could rhyme alongside pop singers (first Dido on “Stan,” then Elton John at the 2001 GRAMMYs, and most recently, Pink and Rihanna on Recovery), couldn’t all musicians, regardless of genre, get along? Sure they can, but the commercial results have been mixed. There’ve been huge hits—the Katy Perry singles “California Gurls” and “E.T.” returned her rapper costars, Snoop Dogg and Kanye West, respectively, to No. 1 for the first time in eons—but when Alicia Keys met Jack White for “Another Way to Die,” the theme for the last James Bond flick, 2008′s Quantum of Solace, it was a one-week wonder on the Billboard Hot 100, peaking at No. 81.

Perhaps Keys’ R&B and pop fans and White’s alternative ones didn’t know what to do with the meeting of their musical minds, which was nonethess one of the best singles of 2008. Of course, there are artists who resist, too. Remember when Ryan Adams used to go off on fans who requested Bryan Adams‘ “Summer of ’69″ because he was fed up with being compared to the ’80s and ’90s pop superstar with the almost-identical name? (He once had a fan tossed out of a Nashville concert for daring to do the unthinkable!)

Kanye West vs. Taylor Swift at the 2009 MTV Video Music Awards probably was as much about the cutting edge (hip hop) vs. the mainstream (country-pop) as it was about the visual supremacy of Beyoncé’s “Single Ladies” video. In February, I read a Billboard.com interview where empress of ’80s cool Chrissie Hynde talked about her upcoming Super Bowl weekend performance on CMT Crossroads with country diva Faith Hill, and she said she was unfamiliar with Hill’s music and admitted, “I don’t know much about country music, period.” Then there’s Kings of Leon, best known in the US for the Top 5 hit “Use Somebody”. Although the band would hardly be considered alternative in its recent hit-making incarnation, the guys  nonetheless refused to allow Glee to use “Somebody.” (I bet South Park or Dexter or Weeds would have gotten their blessing.)

But if Jay-Z can let the Glee kids turn “Empire State of Mind” into a show tune, if Aerosmith frontman Steven Tyler can sit beside Jennifer Lopez at the American Idol judges table, if “F–k You” singer Cee Lo Green can go from collaborating with Danger Mouse (in Gnarls Barkley) to being one of Christina Aguilera‘s fellow judges on The Voice, then we might yet live to hear an Eminem track featuring Britney Spears.

 

Rapper’s Delight: Group Hip Hop

Hip hop groups have long had a major impact on the evolution of the genre. The Sugar Hill Gang, Grandmaster Flash and the Furious Five and Run DMC were some of the earlier influences later followed by the Wu Tang Clan, NWA and A Tribe Called Quest—just to name a few. But what is it about certain groups that we find so appealing? Some collaborating emcees have the ability to feed off of and compliment each other to create something that’s bigger than themselves.

Take a look at Wu Tang, for example:  they have nine members (if you include ODB) with nine distinctive personalities, and each with a distinctly different flow, voice and lyrical style.  What’s impressive is how, when combined, they still have one distinctive Wu Tang sound that is not defined by any single member… and of course their amazing depth of talent. Some of them have launched successful solo careers as well, but none have come close to surpassing the combined Wu Tang Clan clout.  They do, however, frequently feature one another on their solo albums.

That being said, we’ve compiled a playlist for you that highlights some hip hop groups here at OurStage. These tracks all feature multiple rappers, so pay attention to their contrasting styles and let us know what you think!


End of the Revolution: Has Pop Lost Its Social Conscience?

“You say you want a revolution,” The Beatles taunted in 1968. Seventeen years later, the Cult declared, “There’s a revolution.” When Tracy Chapman started “talkin’ ’bout a revolution” in 1988, she left the battlefield with multi-platinum spoils and two GRAMMYs. Pop music may be entertainment first and foremost, but at its most powerful, it’s also been an agent of change, social change, political change, inner change.
“A change is gonna come,” Sam Cooke sang on his 1964 classic. Surely he didn’t envision it eventually going down quite like this. I think the turnaround began in the ’90s, when U2, one of the most popular and influential political groups of all time, discovered girls and disco balls. Nearly two decades later, Bruce Springsteen, John Mellencamp, Stevie Wonder and George Michael are off the singles charts, John Lennon and Marvin Gaye are still dead, and musical activism is mostly the domain of artists on the sidelines of the mainstream.
Meanwhile, in the middle of the road… Billboard’s Top 10 for the week of January 15— led by “Firework,” an anthem for doomed youth with none of the eloquence of Christina Aguilera’s “Beautiful” from 2002—perfectly reflected the shallow mindset of 2011 pop. With its “boom boom boom, even brighter than the moon moon moon” refrain, “Firework” is more tiring than inspiring and ultimately comes across as a clunky excuse for Katy Perry to look gorgeous and set off explosives with her breasts in the video.
Further down the hit list, Bruno Mars is a fool in love—twice. Pink is getting another party started. Enrique Iglesias is flirting again. And the Black Eyed Peas—well, I gotta feeling that ripping off the Dirty Dancing theme was just a way to make more quick bucks. When it’s up to Ke$ha to bring the social commentary (with “We R What We R”), you know we’ve got a problem. Where’s the revolution, the signs of the time? There’s a grenade, yes, but it’s in the name of love, not war.
Every so often there’s a disaster—September 11th, Hurricane Katrina, the earthquake in Haiti—that springs pop stars into action. For the most part, though, they’re all about gold diggers, teenage dreams and bad romance. There are still some iconoclastic talents out there, though they don’t frequent the Top 10. I’m still not sure how a call to action as powerful as Muse’s “Uprising” stalled at No. 37 on Billboard’s Hot 100 in 2009. Maybe the band’s Twilight-obsessed fans prefer when Matthew Bellamy is singing love songs for vampires.
M.I.A. made an unlikely trip to the Top 5 in 2008 with “Paper Planes,” but when she tried to fight the system with last year’s brutal, honest and brutally honest “Born Free,” her video was banned almost everywhere, including on YouTube, for containing violent images that actually were no more disturbing than anything James Franco does in 127 Hours, or that crazed gunman did in last season’s Grey’s Anatomy finale. The same thing happened to Madonna in 2003, when she challenged George Bush with her “American Life” clip. She was strong-armed into filming a new version of the video, the single and CD flopped, and she retreated to the dancefloor for her next two albums.
Perhaps it’s the censors who are intimidating pop’s would-be revolutionaries into inaction. If you dare to clash with rigid, arbitrary standards of decency, as 30 Seconds to Mars’ “Hurricane” video recently did (the MPAA probably would have slapped frontman Jared Leto’s antics with a PG rating at worst), you can forget about airplay. Years ago, pioneering rap acts like Grandmaster Flash and Furious Five and Run-D.M.C. documented life on the mean streets without courting controversy. When Public Enemy came along, they raised the stakes and pissed people off, probably limiting their commercial potential. I can’t imagine any of today’s swag-obsessed rap acts offering oratory as scathing as Public Enemy’s “Fight the Power” or Fear of a Black Planet.
These days, rap’s primary focus, mentally and musically, is boosting egos and making money. Wiz Khalifa’s Top 10 “Black and Yellow,” in particular, represents everything that’s gone wrong with the genre. Eminem occasionally shows flashes of a social conscience— dig deeper into the lyrics of “Love the Way You Lie,” and you’ll realize that it’s an indictment of domestic violence, not a celebration of it— but in hitmaking mode, he’s mostly looking inward, not outward.
Who’ll bring social and political awareness back to the mainstream? Dixie Chicks tried their last time out, and won the 2007 Record of the Year GRAMMY for “Not Ready to Make Nice.” Since then, Record of the Year GRAMMY contenders mostly have been about sex, love and rehab. Rhythm and romance, like sex and candy, will always have a place in pop music, but who wants to party all the time? May the state of nations (wars, terrorism, collapsing economies, earthquakes, public shootings) inspire more of our stars to dim the party lights, turn some of the lust to anger, and get pop’s revolution back on track.

Jamerican Girl

Odelia Muir

Life as the daughter of a Pentecostal minister may be many things, but carefree usually isn’t one of them. DC pop vocalist and “Jamerican” Odelia Muir knows this all too well. After her father caught her singing Bob Marley’s “Three Little Birds” as a child, he condemned her taste in “worldly” music. Undeterred, Muir began expanding her musical horizons, listening to anyone from Jimmy Cliff to Anita Baker, Madonna, Bon Jovi and Run DMC. Her appreciation for both the sacred and profane can be heard in her light-handed songcraft that works reggae, soul and pop into soft and supple grooves. “Rock Wit Me” may sound like the name of a club banger, but the goal here is to “wind your body like karma sutra,” not beat up the beat. The ballad “You” steps back into the ‘80s, with a bubbling beat and retro sequencers, while “Only For A Little Bit” takes a simple strummed guitar and organic percussion and creates a breezy melody where Muir can showcase her island patois. When it comes to music, the singer is most certainly a global citizen. Thank God for worldly music.

New Kids On The Block: Willow Smith and Diggy Simmons

Move over Bieber…there’s a new batch of fresh-faced, super-kids coming for your crown, and they’re packing some serious street cred.

In addition to breakout internet stars like The Astronomical Kid (14-year-old Brooklynite Brian Bradley), two other youngsters are taking the music industry by storm: Willow Smith (the 9-year-old daughter of Will and Jada Smith) and Daniel “Diggy” Simmons (the 15-year-old son of Rev Run).  Though it’s hard to ignore the argument of nepotism with regard to Willow and Diggy’s meteoric rise to fame, there’s no question they are capitalizing on their genetic gifts and tenacious talent to launch their solo careers at an age when most kids are still thinking about a driver’s permit, or in Willow’s case, riding the big rides.

While young starlets are not a new trend—(think Miley Cyrus, Lindsay Lohan, Hilary Duff, Selena Gomez) both Willow and Diggy have bypassed the typical Disney-tinged, tween idol approach and gone straight to the big leagues. Neither of their singles, Diggy’s “Oh Yeah” with labelmate Lupe Fiasco and Pharrell or Willow’s “Whip My Hair” scream “teeny bopper kid” pop. Instead, both hold court with the hottest hits on the pop charts, giving their older counterparts a run for their money (and likely an award or two).

Diggy signed with Atlantic Records in March of this year after his debut mixtape, The First Flight, hit his blog in December 2009, garnering critical acclaim most notably for freestyling over Nas’ track ”Made You Look.”

@diggy_simmons

He also inked a deal to rep AT&T in a national TV ad campaign, proving his star power is strong enough to hawk expensive PDA’s to adults rather than lunchboxes and notebooks to kids. Diggy’s latest mixtape, Airborne, released through Atlantic in September seems to serve as a tasty teaser while he continues working on his debut full length album.

But Diggy was well known to the American public before his recent success. The budding rapper, designer, blogger and entrepreneur first arrived in our living rooms at tender age of 10 when his family’s hit reality show, Run’s House, aired on MTV in 2005. It’s not a stretch to see the musical prodigy (progeny) exploring a career in music considering his dad is legendary DJ, Rev. Run of Run DMC and his uncle Russell, heads up Def Jam—though Diggy claims no help from his dad or uncle in getting the deal with Atlantic.  Diggy’s siblings including brother Jo Jo and older sisters, Angela and Vanes (from Rev. Run’s first marriage to Valerie Vaughn) also carved their own careers from the success of the show—launching, in Jo Jo’s case, a music career, while the sisters opted to start a shoe line, acting roles and star in their own MTV spin-off, Daddy’s Girls.

Willow Smith, on the other hand has been in the public eye seemingly from infancy, both as a style icon and as the daughter of  one of the most compelling couples in Hollywood. Willow began her acting career at age 8 alongside mom, Jada Pinkett-Smith in Madagascar 2 before showing off her musical talents with her simultaneously kid-friendly and adult smash single, “Whip My Hair.”  Shortly after the single was leaked online in September, Willow signed with Roc Nation where label President, Jay-Z compared her to a young Michael Jackson.  The single has been so successful legions of young fans (and adults too) began making their own videos to the addictive tune. Willow’s official video for the track, which was directed by Ray Kay (Beyoncé, Justin Bieber, Lady Gaga) and debuted on BET earlier this week, features some serious moves, guest appearances and one messy paint fight.

Rumors of a duet between Diggy and Willow seem inevitable. For the moment, we’ll just have to enjoy their musical (and marketing) genius individually.

Willow Smith\’s \”Whip My Hair\”

By Cortney Wills

Cortney Wills is a pop culture journalist born and raised in Los Angeles, California. She has lived in LA, Chicago and NYC and enjoys all things entertainment.

Music As Marketing: Dialing Up Lady Gaga’s “Telephone”

Q: If a Tweet falls in a forest and no one is around to hear it, does it make a sound?

A: Who cares.

Why debate philosophical malarkey while Justin Bieber is out there hogging 3% of our Twitter servers, and Lady Gaga gets to be the belle of the MTV ball by wearing a meat dress?

The point is, marketing methods that were formerly described as DIY (social media, shock frocks) are being deployed by artists who don’t need to focus on frugality, and that makes the playing field that much more crowded for unsigned acts. What’s an indie band to do to get attention on a budget? Kick out the jams.

Songify covering 'Double Rainbow'

The latest marketing trend is… music. Yes, the actual music. Bands seem to be crafting and curating songs for maximum rock ‘n’ roll attention. That could mean anything from writing novelty lyrics (meme mentions, news-du-jour references, sentimental stalker ditties) to strategically chosen cover songs. One blog suggests doing away with a song’s bridge to get more chorus-verse-chorus pop power. Tribute songs about the “Double Rainbow” dude are charting on iTunes, we swear. Apparently, there’s a little “Weird” Al Yankovich in most every burgeoning beat group.

“Now, all to often, I’ll see an artist puttering around in something like Twitter, diligently tweeting into a fan-less void,” lamented Mike, author of a recent post at the blog GarageSpin. “Making a splash in the music industry requires a lot of hype, and a lot of artistry. Hype drives awareness. Great music creates fans.”

The indie rock/jazz duo Pomplamoose has built buzz by putting its unique musical stamp on covers of pop staples. Multi-instrumentalists Jack Conte and Nataly Dawn are not known for playing live, but Pomplamoose has garnered a huge fanbase on their YouTube channel, about 3.8 million as of October 2010.

Pomplamoose from 'Telephone' video

Join 5.3 million others and check out Pomplamoose’s cover of Lady Gaga’s “Telephone” on YouTube . The band’s take on the Michael Jackson classic “Beat It” and Simon & Garfunkel’s “Mrs. Robinson” are also crowd pleasers.

“Cover songs are popular for a reason — familiarity attracts fans of the original work, and can breed new fans,” says Mike at the blog Garagespin.  “If you can produce a creative spin or meme from an existing popular concept or creative work, you may attract attention and fans.”  Perhaps this explains burgeoning indie rockers, The Beatles‘ rush to cover Gaga’s “Telephone” as well.

Whether you’re Joan Jett, Run DMC, Franz Ferdinand, Johnny Cash or a member of Glee’s New Directions, it helps to know the basic decision chart you will need to plot out to master the perfect cover song. There are no right or wrong answers, of course. Do you choose a crowd pleaser or an under-appreciated gem that your group can own? Pick a song you truly love or one that you loathe for fun? Perform it by-the-numbers or give it a full makeover? Another option to consider: whether the song’s lyrics, artist or any other element have special relevance now or to some event in the near future.

Up and coming Detroit duo Dale Earnhardt Jr. Jr. (Joshua Epstein and Daniel Zott) have gotten a bit of attention for their moody and thoughtful cover of the Beach Boys’ “God Only Knows.” OK, so they also perform in dorky NASCAR-style jumpsuits plastered with the logos of Cheerios, Lysol, Hamburger Helper and other brand “sponsors,” but sometimes a band likes to make an ironic lowbrow fashion statement to contrast with its arty intellectual music.

Take that, Gaga!

[Editor's Note: Check out these great covers by OurStage artists! ]

By Becky Ebenkamp

Becky Ebenkamp is a pop cultural anthropologist and former West Coast Bureau Chief for Adweek Media. Becky has a radio show called “Bubblegum & Other Delights” that airs 7 to 9 PM PST every other Tuesday on www.killradio.org


 


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