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5 Surprising Facts About Pearl Jam’s ‘Vs.’

Pearl Jam’s Vs. exploded into the world in October 1993 with zero music videos, maximum riffs, and one very intense goat on the cover. It spent five weeks at #1 on the Billboard 200 and sold nearly a million copies in its first five days—without a single TV performance or interview blitz. Raw, restless, and recorded with something to prove, Vs. became everything a second album can be and more. Here are five lesser-known facts about the record that gave us “Daughter,” “Elderly Woman Behind the Counter in a Small Town,” and a lot of unfiltered emotion.

1. The goat on the cover? That’s not just a goat.
The black-and-white angora goat on the cover was photographed by bassist Jeff Ament at a farm in Montana. It became more than a striking image—it symbolized how the band felt at the time: boxed in, under pressure, and restless. Ament later said, “We were slaves,” which might explain the goat’s fence and gaze. The cover perfectly captured the tension of a band pushing back against the machine. One fun fact: early pressings featured no album title—just the goat.

2. Drummer Dave Abbruzzese wrote the riff to “Go”—on an acoustic guitar.
Pearl Jam’s hardest-hitting track on Vs. started not with a guitar hero solo, but with a drummer and an acoustic. Dave Abbruzzese came up with the main riff to “Go” during a jam session, and the band built it up from there. Stone Gossard added the siren-like guitar line, and Mike McCready later threw his Telecaster on the ground after his solo, which can be heard in the final recording. It was wild, spontaneous, and a perfect example of how the band worked as a unit. Also, Vedder once joked the lyrics were about his pickup truck.

3. They skipped music videos—and still made history.
After “Jeremy” became an MTV staple, Pearl Jam stepped away from the spotlight. They released Vs. with no music videos, no interviews, and very little traditional promotion. Still, the album sold more copies in five days than any other album in SoundScan history at the time. For five years, it held the crown for fastest-selling album of all time. Fans leaned fully into the music—and the band delivered.

4. “Daughter” topped charts with a drum kit made of just three pieces.
The song’s smooth acoustic groove came together in an unexpected way. Producer Brendan O’Brien suggested simplifying Dave Abbruzzese’s drum setup for the recording. He played with only a 26-inch kick drum, snare, and 18-inch floor tom—no tom fills, no flashy cymbals. The result was a crisp, dynamic beat that let the song breathe and soar. It became Pearl Jam’s biggest rock radio hit at the time.

5. The album came close to being titled Five Against One.
Before Vs. received its final name, the band planned to title the album Five Against One, a lyric from “Animal.” The phrase reflected the inner and outer tensions of making the record—bandmates versus expectations, individual versus industry. Even the cassette versions had “Five Against One” printed on them before the name changed. Eventually, they landed on Vs., a nod to the broader conflicts woven through the songs. The title matched the fire in the music perfectly.

So the next time you hear Vs, remember the powerful, goat-staring, drum-smashing, camera-free statement. Pearl Jam stepped forward with a bold sound and a clear message: music, on their own terms.

“The Uncool” Brings Rock Legends, Iconic Films & One Teen Journalist’s Wild Ride to Life in Cameron Crowe’s Memoir

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The long-awaited memoir by Cameron Crowe—one of America’s most iconic journalists and filmmakers—revealing his formative years in rock and roll and bringing to life stories that shaped a generation, in the bestselling tradition of Patti Smith’s Just Kids with a dash of Moss Hart’s Act OneThe Uncool is a joyful dispatch from a lost world, the real-life events that became Almost Famous, and a coming-of-age journey filled with characters you won’t soon forget.

Cameron Crowe was an unlikely rock and roll insider. Born in 1957 to parents who strictly banned the genre from their house, he dove headfirst into the world of music. By the time he graduated high school at fifteen, Crowe was contributing to Rolling Stone. His parents became believers, uneasily allowing him to interview and tour with legends like Led Zeppelin; Lynyrd Skynyrd; Bob Dylan; Crosby, Stills, Nash, & Young; and Fleetwood Mac.

The Uncool offers a front-row ticket to the 1970s, a golden era for music and art when rock was young. There’s no such thing as a media junket—just a rare chance a young writer might be invited along for an adventure. Crowe spends his teens politely turning down the drugs and turning on his tape recorder. He talks his journalism teacher into giving him class credit for his road trip covering Led Zeppelin’s 1975 tour, which lands him—and the band—on the cover of Rolling Stone. He embeds with David Bowie as the sequestered genius transforms himself into a new persona: The Thin White Duke. Why did Bowie give Crowe such unprecedented access? “Because you’re young enough to be honest,” Bowie tells him.

Youth and humility are Crowe’s ticket into the Eagles’ dressing room in 1972, where Glenn Frey vows to keep the band together forever; to his first major interview with Kris Kristofferson; to earning the trust of icons like Gregg Allman and Joni Mitchell who had sworn to never again speak to Rolling Stone. It’s a magical odyssey, the journey of a teenage writer waved through the door to find his fellow dreamers, music geeks, and lifelong community. It’s a path that leads him to writing and directing some of the most beloved films of the past forty years, from Fast Times at Ridgemont High and Say Anything to Jerry Maguire and Almost Famous. His movies often resonate with the music of the artists he first met as a journalist, including Tom Petty and the Heartbreakers, The Who, and Pearl Jam.

The Uncool is also a surprisingly intimate family drama. If you’ve seen Almost Famous, you may think you know this story—but you don’t. For the first time, Crowe opens up about his early formative years in Palm Springs, and pays tribute to his father, a decorated Army officer who taught him the irreplaceable value of the human voice. Crowe also offers a full portrait of his mother, whose singular spirit helped shape him into an unconventional visionary.

With its vivid snapshots of a bygone era and a celebration of creativity and connection, this memoir is an essential read for music lovers or anyone chasing their wildest dreams. At the end of that roller-coaster journey, you might just find what you were looking for: Your place in the world.

5 Surprising Facts About Billie Eilish’s ‘When We All Fall Asleep, Where Do We Go?’

Billie Eilish’s debut album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? arrived with whispers, thumps, and wild imagination. It reimagined pop through bedroom beats and eerie lullabies, asking dreamy questions and answering them with style. You might know Bad Guy and Bury a Friend by heart, but here are five delightful facts floating just below the surface…

1. The album starts with spit.
The very first sound on “!!!!!!!” is Billie taking out her Invisalign aligners. She and Finneas burst into laughter right after, setting the tone for the whole record. It’s a reminder that music does not always need a serious face. Sometimes, it begins with a slurp and a smile. And right after that moment comes pure sonic magic.

2. Every track came from Finneas’s childhood bedroom.
There was no studio in sight—just a small room in Highland Park with natural light and close walls. The setup included Logic Pro X, two monitors, and a whole lot of imagination. The space gave the songs a sense of intimacy that can be felt in every whisper. There was no soundproof glass or sterile mixing rooms—just siblings crafting songs inches apart. It was a cozy kind of brilliance.

3. One song is named after a video game.
“Ilomilo” takes its name from a 2010 puzzle game about reuniting two friends. The idea of distance and reunion fit the album’s dreamy, eerie mood perfectly. Billie loved the game and its quiet emotional pull, which inspired the track’s delicate tension. Even the beat feels like a little maze, leading listeners through gentle twists. Sometimes, inspiration fits right in your pocket.

4. The Office helped make a hit.
“My Strange Addiction” includes real quotes from Threat Level Midnight, an episode of The Office. Billie and Finneas are huge fans, so they reached out to the cast for permission. Steve Carell and the rest of the cast gave it the green light—no licensing drama, just joy. The quotes blend right into the track, creating a surreal pop fever dream. It’s a place where Michael Scott meets minimalist beats, and that’s a win.

5. The title came from a monster’s point of view.
“Bury a Friend” holds the key to the album’s name, and it’s sung from the perspective of something lurking under the bed. The lyrics explore fears, dreams, and creatures that may or may not be real. Billie imagined the perspective of the thing we all feel at night but never see. She described the album as a dream—sometimes good, sometimes strange, and always vivid. It’s a question with a million answers, set to a perfect soundtrack.

So next time you queue up WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, listen for the bedroom walls, the puzzles, the pranks, and the dreams. Behind every whispered lyric is a world made by two siblings, a laptop, and a lot of late nights.

Indie Icons Band of Horses and Iron & Wine Join Bel-Aire Poolside Concert Series at Durango

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AEG Presents: Las Vegas and Clique Hospitality have announced a must-see double bill from two beloved forces in indie rock music, Band of Horses and Iron & Wine. The two bands have been added to the dynamic “Bel-Aire Poolside Concert Series” lineup at Durango Casino & Resort with performances on Saturday, Sept. 27. Tickets, available here.

Band of Horses rose to prominence in the mid-2000s, known for their sweeping anthems, Ben Bridwell’s high-flying vocals and deeply resonant lyrics. From early classics like “Everything All the Time” to Grammy-nominated “Infinite Arms,” the band has crafted a catalog of emotionally raw and sonically lush albums that have become defining entries in the indie rock canon. “Things Are Great,” released in 2022, saw the band returning to its roots with renewed punk-rock spirit and unfiltered emotion.

Iron & Wine is the acclaimed band led by singer-songwriter Sam Beam, whose poetic lyricism and rich folk sound have earned him a devoted following. With his 2024 release, “Light Verse,” Beam presents a playful, heartfelt response to the weight of recent years, laced with both whimsy and wisdom. Coming off a spring 2025 tour in support of the album, he will bring his poetic lyricism to life under the open sky at Bel-Aire Backyard.

Guests can elevate their concert experience with a luxurious poolside cabana, which includes 10 tickets to the show. Each private cabana features plush seating, a flat-screen TV and a refrigerator stocked with refreshing soft drinks. Packages include premium access for the entire group, including exclusive entry to the VIP standing area and an unparalleled view of the stage. A dedicated cabana host caters to guests’ needs, while a state-of-the-art mister system and a personal ceiling fan ensure comfort throughout the night.

The “Bel-Aire Backyard Poolside Concert Series” debuts this month and runs through November, transforming the outdoor oasis into the ultimate music destination. Band of Horses and Iron & Wine join a stellar lineup that includes The Fray, Thievery Corporation, Michael Franti & Spearhead, The Struts, and more.

Tickets start at $45, plus taxes and fees. Presale tickets for the artist’s fan club will be available on Wednesday, April 23, at 10 a.m. PDT. The intimate venue holds approximately 1,600 guests, and the pool will close at 4 p.m. on show days. Doors open at 7 p.m., and the show starts at 8 p.m. More information and tickets are available on the website, linked here

Audra McDonald, Joy Woods, and Jordan Tyson Bring ‘Gypsy’ to NPR’s Tiny Desk

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Some musicals are so iconic, they don’t need a stage—just 11 instruments, a desk, and voices that raise the roof. Gypsy hit Tiny Desk with Audra McDonald, Joy Woods, Jordan Tyson, Danny Burstein, Lesli Margherita, Lili Thomas, and Mylinda Hull turning the office into a showbiz battleground. Jule Styne, Stephen Sondheim, and Arthur Laurents wrote the songs. Audra and company made them roar.


Dylan Douglas Returns To SiriusXM Progress With Weekly Gen Z-Focused Show ‘Young American’

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SiriusXM announced the return of Dylan Douglas to the Progress channel (channel 127) with the relaunch of his Gen Z political program, “Young American with Dylan Douglas.”

Following a successful limited run of “Young American” in the weeks leading up to the 2024 Presidential Election, the show will now return on a full-time basis, airing every Saturday morning on SiriusXM Progress. The one-hour weekly program will continue to dive deep into the defining issues of Gen Z and feature candid discussions with politicians, activists, and thought leaders on a range of topics including reproductive rights, climate change, gun control, and other social and political matters.

Dylan will once again bring his fearless, fresh perspective to the table, engaging in thoughtful conversations that address the challenges facing today’s youth while exploring practical solutions and paths toward progress. Whether unpacking policy, societal shifts, or cultural debates, the program will be the go-to space for young Americans, as well as people across age groups, to connect with the issues that truly matter to them – and to shape the future together. Listeners can expect Dylan’s signature mix of bold commentary, humor, and a deep commitment to civic engagement, all delivered with the energy and urgency of a generation demanding change.

“I’m thrilled to be back on SiriusXM Progress. There’s no shortage of urgent, important conversations to be had – and there couldn’t be a better time to return to this platform,” said Douglas. “‘Young American’ isn’t just about politics; it’s about the people who are shaping the future of our generation. With the election behind us, I’m looking forward to diving in and talking to the changemakers driving real progress.”

“Young American with Dylan Douglas” will air weekly on Saturdays at 10 – 11 am ET on SiriusXM Progress (ch. 127) and will be available on-demand on the SiriusXM app.

5 Surprising Facts About The Cure’s ‘Songs of a Lost World’

After 16 years, The Cure returned with an album that was worth every second of the wait. Songs of a Lost World, released on November 1, 2024, brought Robert Smith’s introspection, moonlit melancholy, and synth-drenched drama back to the top of the charts — and the hearts of fans across the world. Here are five beautiful facts about an album that proves the world’s still listening when The Cure sings.

Robert Smith Wrote Everything — Just Like 1985
For the first time since The Head on the Door, every lyric, melody, and arrangement on Songs of a Lost World came from Robert Smith alone. The result is a deeply personal and cohesive listen, full of poetic weight and sonic depth. It’s not just The Cure’s album — it’s his world, and we’re just lucky to hear it.

The Album’s Emotional Core Came From Grief
“I Can Never Say Goodbye” was written after Smith lost his brother. Rather than dominate the track with heavy lyrics, he let the music carry the grief — creating one of the most emotionally powerful songs in the Cure catalog. He called it cathartic. Listeners called it unforgettable.

It Was Almost Too Dark to Release
The original version of the album was so bleak that Smith’s wife Mary reportedly told him, “people won’t listen to this.” So, tracks like “Warsong” and “Drone:Nodrone” were added to balance things out. Even Bodiam Sky, a gorgeous lost finale, was cut but left like a ghost in the liner notes.

It Was a Global Smash — And a Halloween Wish
Smith personally requested the album drop after Halloween. At midnight on November 1, 2024, it arrived — and immediately went to #1 in the UK, France, Germany, and beyond. It even outsold the entire UK Top 10 combined in its first week.

The Companion Albums Keep Coming
The Cure celebrated the release with a live album (Songs of a Live World) and a massive remix collection (Mixes of a Lost World) featuring Four Tet, Orbital, and more. Every version — from cassette to glow-in-the-dark vinyl — reminds us The Cure still cares deeply about how music feels in your hands.

With Songs of a Lost World, Robert Smith remembered, reflected, and rewrote what a Cure album could be. New textures. Old ghosts. Huge choruses. And one more reminder that beauty often begins in darkness.

5 Surprising Facts About Van Halen’s ‘OU812’

Van Halen’s OU812 was built on it with big riffs, deeper lyrics, midnight jam sessions, and a dash of Cabo sunshine. With Sammy Hagar at the mic for round two, the band blended slick musicianship with stadium-sized hooks, delivering four Top 40 hits and a legacy that still sounds loud and clear. Here are 5 wild and wonderful facts about this 1988 rock staple.

It Was Self-Produced—and It Shows
After their 5150 tour, the band skipped hiring a producer and instead crafted OU812 on their own. Without someone calling the shots, they followed their instincts, giving us a mix of serious songwriting and playful experimentation. The result? A sound that’s polished but still purely Van Halen.

“When It’s Love” Was Born From a Piano Demo
Eddie showed Sammy Hagar a piano-and-drum demo he’d cooked up with Alex Van Halen—and it became “When It’s Love,” one of their biggest power ballads. The song soared to #5 on the Billboard Hot 100 and featured a guitar solo Eddie called a nod to Eric Clapton. Proof that a little keyboard magic and a lot of heart can still light up a stadium.

The Late-Night Balcony Jam That Became a Hit
“Finish What Ya Started” almost didn’t make the album—until Eddie knocked on Hagar’s door at 2 a.m. with a new riff. They jammed on his balcony with unplugged guitars until the song was done. Sammy stayed up to write the lyrics, which he later described with a wink as being about “blue balls.”

Cabo, Montrose, and a Song Called “Cabo Wabo”
While writing lyrics in his house in Cabo San Lucas, Hagar channeled the relaxed beach vibe into “Cabo Wabo.” The song borrowed melody lines from a Montrose track he wrote years earlier, and it ended up inspiring the name of Hagar’s legendary nightclub and tequila brand. Not just a song — a lifestyle.

The Album Name Came From a Truck on the Freeway
The title OU812 (read aloud: “Oh, you ate one too”) wasn’t a coded jab or grand statement—it was something Sammy saw on the side of a delivery truck and found funny. The band even considered naming the album Bone first, but Alex Van Halen wasn’t having it. We all owe that delivery truck a thank-you.

OU812 was dedicated to Eddie and Alex’s father, Jan, whose clarinet had appeared on Diver Down. With stadium rock power and beachside creativity, the album blended heart and humor, riffs and reflection. It was Van Halen doing what they did best—loud, loose, and totally themselves.

5 Surprising Facts About Van Halen’s ‘1984’

Van Halen’s 1984 was a neon-lit, synth-drenched, high-octane leap into the future of rock. Released at the start of the year it’s named after, this record captured a band at the peak of its powers and rewrote what a rock album could sound like. From synths to school buses, here are 5 wild facts about one of the most iconic albums of the ‘80s.

Eddie Built a Studio, Then a Whole New Sound
Eddie Van Halen wanted more control — so he built his own home studio, 5150, named after the California code for a psychiatric hold. There, with engineer Donn Landee, he explored synths and sounds without pushback. That’s where “Jump” was born, reshaping Van Halen’s identity from riff kings to synth rock pioneers.

“Jump” Almost Didn’t Happen
Eddie had the iconic synth riff for “Jump” in his back pocket for years — but David Lee Roth wasn’t convinced. After years of resistance, Roth finally gave it a shot, writing lyrics in the backseat of his Mercury convertible. A TV story about a potential jumper inspired the title, but the message became one of joy and seizing the moment.

That’s Eddie’s Actual Lamborghini in “Panama”
During the breakdown of “Panama,” that revving engine isn’t from a sound bank — it’s Eddie’s real 1972 Lamborghini Miura S. He backed it up to the studio, mic’d the tailpipes, and floored it. Rock history, meet car culture. It’s the most musical burnout ever caught on tape.

“Hot for Teacher” Was as Wild Onscreen as On Record
The music video for “Hot for Teacher” took glam metal, childhood chaos, and red suits under a disco ball and blended them into a pure MTV fever dream. Complete with kid versions of the band, stripping teachers, and a urination gag that flew under the radar, it’s still one of the most unforgettable — and unhinged — rock videos of all time.

They Gave Away a “Lost Weekend” with the Band
To promote the album, Van Halen and MTV launched a “Lost Weekend” contest. Over a million fans sent in postcards. Winner Kurt Jeffries flew to Detroit, got caked and showered in champagne onstage, and probably still doesn’t remember half of it. As Roth promised: “You won’t know where you are, and when you come back, you won’t remember it.” Rock ‘n’ roll at its most chaotic and generous.

1984 sold 10 million records and it changed the trajectory of Van Halen forever. Synths met shredding, and rock met radio in a whole new way. Whether it’s the swagger of “Panama,” the precision of “Jump,” or the schoolyard chaos of “Hot for Teacher,” this album lives on as a monument to when Van Halen truly ruled the airwaves, the charts, and MTV.

5 Surprising Facts About John Lennon and Yoko Ono’s ‘Double Fantasy’

Some albums are recorded. Others are lived. Double Fantasy, the final studio album from John Lennon and Yoko Ono released just weeks before Lennon’s tragic death in 1980, falls firmly into the latter category. Born from sailing adventures, seasickness, dad life, and love letters set to music, this album is full of incredible moments that go way beyond the music. Here are five wild and true facts that make Double Fantasy as unforgettable as the couple who made it.

John Lennon’s Sea Storm Epiphany
In June 1980, Lennon sailed from Rhode Island to Bermuda—and when a nasty storm hit, he was the last man standing. The rest of the crew were knocked out with seasickness, leaving Lennon to steer a 43-foot schooner alone for six hours. Afterward, he said it centered him, tuned him into the cosmos, and inspired a flood of new songs. Forget a studio—this album started on the open sea.

The Album Was Named After a Flower
No metaphor here—Double Fantasy is literally the name of a flower Lennon saw in the Bermuda Botanical Gardens. He thought it perfectly described his relationship with Yoko. It’s not often a rock record and a freesia share a name, but for John and Yoko, love bloomed everywhere.

A Secret Session with Cheap Trick
Producer Jack Douglas invited Rick Nielsen and Bun E. Carlos of Cheap Trick to secretly play on two tracks: “I’m Losing You” and “I’m Moving On.” Lennon loved the energy, but those versions were ultimately re-recorded with the regular session band. Still, the Cheap Trick version made its way to the John Lennon Anthology years later. That’s a rock ‘n’ roll what-if for the ages.

“Starting Over” Was Lennon’s Elvis Orbison Moment
When recording the first single, Lennon jokingly called it his “Elvis Orbison” track, as he playfully mimicked the vocal styles of both legends. He even opened the stripped-down remix with a dedication: “This one’s for Gene, and Eddie, and Elvis… and Buddy.” A comeback single inspired by the greats, from a great returning to form.

A Hammered Dulcimer Saved the Day
“Watching the Wheels” features a hammered dulcimer—but not by design. Producer Jack Douglas wanted a “circular” sound and found a street performer in New York, Matthew Cunningham, to play it. He wasn’t in the Musicians’ Union, but his dulcimer brought exactly the vibe the song needed. From the sidewalk to the studio—now that’s serendipity.

Double Fantasy was more than a comeback; it was a celebration of life, love, fatherhood, partnership, and artistry. Its story is full of storms and stillness, risk and reward, loss and legacy. Lennon and Ono called it A Heart Play—and forty-plus years later, we’re still listening with ours.