Posted inPrairie Pop

Rabble-rousing inside the FCC: Media’s mischief maker started subverting paradigms as a kid right here in Iowa City

Nicholas Johnson — who is likely the only Iowa City native who ever appeared on the cover of Rolling Stone, in 1971 — foreshadowed his career as a troublemaking FCC Commissioner when he was an adolescent boy in the mid-1940s. “My first experience with radio was Allied Radio in Chicago,” Johnson recently told me. “This […]

Posted inArts & Entertainment, Prairie Pop

Prairie Pop: Looking back on David Bowie’s love affair with experimental theater

The weekend after David Bowie’s death, the Starman’s spirit descended on Iowa City, sprinkling magical fairy dust during The Mill’s David Bowie Karaoke Party and Glam Costume Contest. A benefit for a local homeless shelter that raised $1,700, this lively event embodied what made Bowie such an enduring artist: spectacle. It’s no secret that David […]

Posted inArts & Entertainment, Prairie Pop

Interview: Richard Hell on his new collection of essays, ‘Massive Pissed Love’

“Fuck Rock and Roll (I’d Rather Read a Book),” Richard Hell sang in 1974, back when he played in the band Television. He also co-founded two other influential New York punk groups—The Heartbreakers and The Voidoids—something that tends to overshadow Hell’s half-century involvement in the publishing world. “I’ve always loved books,” he told me over […]

Posted inArts & Entertainment, Prairie Pop

The Pioneers of Disruption: Negativland members open up about deceased member Don Joyce, future projects

Negativland’s Don Joyce lived and breathed sound collage—’til his heart stopped beating on July 22, 2015 at the age of 71. “I’ve been more interested in what’s already out there than creating some new, so-called ‘original,’” Joyce told me in a 2003 interview at his home studio in a seedy part of Oakland, California. “I […]

Posted inAlbum Reviews

Album Reviews: Younger – Self-titled

The self-titled debut by Iowa City trio Younger nicely balances intricate arrangements with more hooks than a box full of fishing tackle. Many of their songs contain verse-chorus-verse-defying breakdowns and changes, though without sounding busy or proggy, like on the album’s lead track, “Street Rat.” Similarly, “Clash” begins with a lilting guitar riff and rumbling bass line that propels the first two verses before switching gears halfway through—slowing the tempo and descending into a spiral of three-part harmonized, interlocking bah-bah-baaaah vocals.

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