James Crowley and Marisa Winckowski discuss Pulp Fiction this week. They touch on everything from Tarantino’s gratuitous profanity, the dope soundtrack, and other Tarantino masterpieces. Go listen to the Burger-A-Day Podcast on Apple podcasts now! Check out our sponsor: The Good Taste Podcast
Thoroughbreds is only a mildly exaggerated representation of the elite of suburban Connecticut, or Westchester, New York. Greenwich is filled with beautiful yoga moms and their children dressed in matching blazers, designer-bred show dogs and cars worth more than your house. This is an expose of the young and privileged, who both comfortably occupy the bubble they’ve grown up in and desperately long for freedom from it. They’ve grown up financially secure but emotionally neglected. Privilege is a necessity and empathy is a weakness. Continue reading
To say I wasn’t really looking forward to Titus Andronicus’ new album wouldn’t be right. I really wanted to hear it, but I also planned to dislike it. In the interview that was released with “Number One (In New York),” Patrick Stickles declared that A Productive Cough would have no “punk bangers.” Those were my favorite Titus songs, and now Stickles wanted to get rid of them? These fears evaporated upon listening to “Number One.” A Productive Cough doesn’t have the same sort of gritty, shout-along songs like “Dimed Out” or “A More Perfect Union,” but the songs aren’t any less punk bangers. Continue reading
Camp Cope has positioned themselves as a hyper-political pop-punk band that will fight against sexism, gun rights, sexual abuse, and so much more, but the Australian trio is so much more than that. While Camp Cope utilize their platform to speak about equality and representation, their best songs are deeply personal. The band writes numbers that rage and songs that can let your entire world break around you, and How to Socialise & Make Friends really makes way for both of those worlds. Continue reading
This week, Burger-A-Day writers James and Marisa discuss the teen comedy Juno. They dive into teen pregnancy, The Moldy Peaches, Kimya Dawson, Diablo Cody, and teen pregnancy. Subscribe on iTunes: https://itunes.apple.com/us/podcast/burger-a-day-podcast/id1347757542?mt=2
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It didn’t have to be this way. In the hands of a better director or a better screenwriter, this could have been a really poignant story about grief and redemption. Instead it’s a melodramatic, sloppy, grim and empty husk of a movie with absolutely no idea what its thesis statement was. This has the stench of an Oscar-bait movie written on a time constraint, with some of the most awkwardly stilted dialogue, the most contrived coincidences and one of the most abrupt endings of 2017.
“You all seem to be very happy to be listening to such sad music,” Scott Hutchinson, the lead singer of Frightened Rabbit mentions to the crowd around half way through their live journey through The Midnight Organ Fight. The band has been around for fifteen years, yet this album just reached its ten year mark. Like a lot of 2000’s indie bands, Frightened Rabbit is taking the full album on tour with every date completely sold out. I got to see them at the Music Hall of Williamsburg on their second night in NYC by a strange streak of luck and the kindness of a stranger. I ended up walking into the venue as Frightened Rabbit took the stage. Continue reading
Franz Ferdinand’s latest album Always Ascending has a great recipe to become a fan favorite. Franz Ferdinand has been on the scene for over 15 years since their creation back in 2002 and their first self-titled album in 2004. In classic Franz Ferdinand fashion, they made fans wait for this album. It’s been a long five years (sans a Sparks collaboration), but it was well worth the wait. Continue reading
This week James Crowley and Marisa Wincowski discuss Joel Schumacher’s 2004 adaptation of Andrew Lloyd Weber’s Phantom of the Opera. They discuss the differences between the two and ask if it deserves all the hate. Listen and subscribe wherever podcasts are found.
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Where Painkillers served to bridge the gap from the crumbling Gaslight Anthem’s worst album to Brian Fallon’s solo career, Sleepwalkers sees Fallon comfortable in a singer-songwriter role. His sophomore solo effort marks a massive step up from the previous album. Fallon leans on the nostalgia that made him a punk celebrity, and the album is a good supplement to The Gaslight Anthem reunion this summer. Continue reading