Dw. Dunphy On…David Cassidy (1950-2017) and Tommy Keene (1958-2017)

There’s a sad, poetic synchronization to the passing of David Cassidy and, only a few days later, Tommy Keene. One briefly owned the world, but in a way he never wanted. The other had the skills to take the world by force, but it didn’t respond as it could have, or should have.

David Cassidy was born into misfortune by way of fortune. His father, Jack Cassidy, was a famous actor. His mother, Evelyn Ward, was a respected stage actor. His stepmother was Shirley Jones, known best up to a certain period for her performance in the film version of the musical Oklahoma! Later success, and certainly the fame for which she’d be known best for through the rest of her career, came as Shirley Partridge, a widower who inexplicably becomes part of a family rock band. Her son in the show The Partridge Family, named Keith, was famously played by David.

Television was weird during these years. Everyone was getting into the pop game, mainly from the influence of The Partridge Family and the show’s hit status. Soon the Brady Kids were singing, so were Scooby Doo and the Mystery Machine gang, and don’t forget Josie and the Pussycats. Everyone wanted to be pop idols.

Everyone, that is, except for David Cassidy. He wanted to be a rock star. He wanted it “for real” and the oppressive overlaps of Shirley/Keith and Shirley/David could not have made things any more awkward. Cassidy was actually in good company though, even if he probably couldn’t appreciate to what extent. Another teen idol type, Leif Garrett, very publicly chafed against his lot. Glam rockers The Sweet regularly thrilled at the opportunity to fill up b-sides of their singles with hard rock tracks that better reflected their desires. After a blood and guts classic debut, Cheap Trick, which always viewed themselves more like an American AC/DC than Raspberries, were softened (briefly) for mass appeal.

But no matter how hard he tried, Cassidy couldn’t get away from the puppy-dog eyes and feathered hair of the Tiger Beat scene, not even in the forgiving era of the ’80s. That may well have been the real bitter pill. This frame of time found The Monkees not only rediscovered, but reexamined, as being much more than a “pre-fab four.” Tina Turner not only returned to the limelight, but surpassed her years with Ike Turner in every possible respect. In 1989, the one figure that rivaled Cassidy’s ’70s heartthrob status, Donny Osmond, had a comeback hit with “Sacred Emotion.” But all that was afforded Cassidy was another opportunity to sing either “I Think I Love You” or “Come On, Get Happy.”

Along the way, interesting things occurred – an edgy solo recording here and there, a co-write of a song for the band Asia, “Prayin’ 4 A Miracle” – but nothing stuck. The gold that his peers were suddenly striking, or striking again, eluded him. In later years, he would come to reckon and accept the music he made, but there had to be those painful pangs of what might have been, what was denied him by that sudden rush of fame so young.

Earlier in the year, it was reported that Cassidy melted down onstage at a show. People thought he was drunk, belligerent, and disrespectful of the fans at his show’s attendance. A couple of days later, he spoke of his sickness. These are cynical times. We hear of stars announcing their divorces timed exactly to the day when their latest project debuts, as if the pending divorce was a press first-stage rocket. It was very easy to dismiss Cassidy’s explanations as an excuse for bad behavior. Turns out, he was telling the truth.

It ends with a bitter coda. We still have the music, but in his heart, this wasn’t the music David Cassidy wanted to leave you with.

The other stanza of this poetic tragedy is the passing of Tommy Keene. He had the songs he wanted to leave you with, whole albums of them, in fact. He had the respect of peers, many of whom are better known than Keene, most of whom will tell you that alone is a travesty, and most of whom are absolutely devastated by his sudden, untimely passing.

What Keene did not have was that success he so richly deserved. He had a cult of fans, and they too are struck dumb by the suddenness, the unfairness of it all. It was not that long ago that Keene was touring as the opener for Matthew Sweet – only this past summer. Pictures flood Facebook of Tommy chilling by the stage, hanging out on a patio lit by nighttime street lamps, or just getting up on the riser to play one of his tunes. He never went away. His last album, Laugh In The Dark, came out in 2015 and now finds the listener pouring over the contents, looking for clues to how this could have happened. Did he know of the fatal heart attack to come?

Keene had a sly sense of humor. He was not one to go for the obvious gut-buster, but anyone who would name their 2-CD retrospective the Who-winking Tommy Keene: You Hear Me had to be having fun with it. His second album was Songs From The Film, but was not a soundtrack.

Keene’s third album, Based On Happy Times, features the title song that probably converted the majority of his now-mourning fans. Listen past the cellos that are clearly keyboards, or rather, listen to them as keyboards mimicking cellos and measure that against the content of the lyrics. It’s a song about love fading and dying out, becoming a facsimile of what it was, an imitation, much as the keyboards were an imitation of a string section. “Where’s the light in your eyes?” Keene might have needed the instrumentation to be this way for practical purposes, but it actually succeeds for dramatic purposes. 1989 should have been Keene’s breakout year, as should have been 1986, or 1981. 

Here too, we are left with the music. This is the music Keene poured his guts into, the music he wanted you to hear and was proud of. It still stings that if people come to discover him now, it will be through the process of postmortem. He gave it his all, and still it was not enough to break through all the way.

So what do we do with this information? We have one individual who was graced with a fame that didn’t reflect his dreams, a fame that trapped him. We have another individual, a craftsman, who ultimately was denied the victories due the faithful execution of that craft. Neither of these ends seem particularly fair. That they should occur so close to each other indicates that the universe indeed has a sense of humor…it’s just disturbingly dark.

Album Review: Pugwash, “Silverlake”

In recent years, I’ve felt a weird sense of sadness when a new Pugwash album is released. I have no doubt about the quality of recording I’m likely to hear. I’m never disappointed. But at the same time, it will be for me another round of others griping to me about how melody and unforced pop hooks are no longer in supply in modern music. My insistence that Pugwash offers everything they’re looking for and more goes ignored. Complaining about the state of today’s arts seems more pleasurable than experiencing music that delivers.

So we arrive at the release of Silverlake, the latest by Pugwash, which is a nom de plume for singer-songwriter Thomas Walsh. Across eleven tracks of sing-along, clap-along, truly catchy songcraft, the monarchy of pop-rock holds a coronation for a true heir, and at this stage of the act’s existence, I shouldn’t have to tell you this. Neither should I tell you the bands and artists that will be echoed in this music. I’ve said it on multiple occasions: Pugwash has earned the right to sound like Pugwash.

There are, nonetheless, surprises to be had from the new album. Working mainly as a duo act with producer-multi-instrumentalist Jason Falkner, this edition is a bit edgier than the previous album, Play This Intimately (As If Among Friends). This is kept like a winning hand of cards, close to the chest, with the opening “The Perfect Summer.” It’s what we’ve come to expect from Walsh, with an immediately likeable chorus and a verse structure that invites you to sing along. Much like older songs like “It’s Nice To Be Nice” and “Answers On A Postcard,” you are being ushered into a unique and peculiar world where touches of psychedelia invade the feel-good A.M. radio waves.

By the second song, however, there is a slight tonal shift at work. “What Are You Like” is a guitar-driven rock song that allows Walsh a chance to stretch out vocal lines for maximum impact. Falkner provides a guitar line and solo at the break that is reminiscent of Elliot Easton (The Cars), and the listener is put on notice. As terrific an album as Play This Intimately was, it went light on rockers. With Silverlake, we’re still firmly listening to a pop-rock album, but the artists are not holding back the surprise left turns.

Need further proof? “Why Do I” has a rhythmic approach that verges on Field Music or Spoon’s most post-rock tendencies, and is capped with a skittering guitar break that calls to mind Richard Lloyd (Television). Walsh remains a premier balladeer, and the elegant “Sunshine True” and mournful “Such A Shame” only compliment this belief. Mostly, the album scratches that persistent rock and roll itch, and the penultimate track “Easier Done Than Said” finds Walsh in a late-’70s or early-’80s new wave vein, without the obtrusion of 50’s sci-fi keyboards.

Closing it all out is “Autarch,” a slow-burning psyche-rocker in the tradition of Almanac‘s “Emily Regardless” and Eleven Modern Antiquities‘ “Landsdown Valley.”

Much of the buzz that will encircle Silverlake will be because of Falkner, and a lot of it is deserved. In Falkner, Walsh has a collaborator that has seen much of the same landscape: forward-pointing rock music with DNA extracted from the sixties and seventies, a devoted cult fanbase and smatterings of personal success, but frequently shut out from the wealth of the limelight. There’s a reason why a few of Falkner’s solo recordings are only available in Asia, and why even after the applause Walsh received after The Duckworth Lewis Method (with collaborator Neil Hannon of The Divine Comedy), we still have to explain who/what Pugwash is to the layman.

Yet, the heart of this album is Thomas Walsh’s songcraft, persistently asserting itself album after album. Silverlake is part of a discography that, again and again, astounds hungry listeners, provokes envy in other music creators, and triggers confusion in the faithful who must again try to explain all this to the audience that would appreciate it most.

In other words, treat yourself to Silverlake by Pugwash. This really is the one you’ve been waiting for, and is way more enjoyable than another complaint about how they don’t make ’em like they used to.

Find out more about Pugwash’s Silverlake at: https://www.lojinx.com/releases/pugwash/silverlake

Justin Vellucci’s Year-Ending Top Ten: 2017 Edition

Yeah, yeah, putting the final nail in the coffin of 2017 is a little premature, seeing as there’s still more than 30 days left in the year. But, I’m the music writer compiling this list, so, here you go.

It was an interesting year in underground music and, rather than present a conventional Top Ten, I thought I’d list 10 of the best records in various categories. (Incidentally, they are cumulatively my Top Ten of the year, if you want to get granular.)

Who scored big in the year of our Lord Twnety Seventeen? Fire away, chief.

RECORD OF THE YEAR
David Grubbs – Creep Mission

This is the record Grubbs was born to make. The post-rock forefather lives up to Gastr-sized expectations on this collection of fluid instrumentals that speak as much to the heart as they do to the head. His guitar compositions, calling to mind the best of Loren Mazzacane Connors, have never sounded so mature or profound. A five-star masterpiece!

BEST FOLLOW-UP TO RECORD OF THE YEAR
Astrid and Rachel Grimes – Through The Sparkle

Composer/pianist Rachel Grimes takes a step away from the wonder of The Clearing, my choice for 2015’s record of the year, with a sublime exploration of emotion and restraint. Echoing the chamber ensemble Rachel’s (I mean, how could it not?) and late Talk Talk, this UK import showed this group of musicians simply clicked when they made music together.

BEST DEBUT
High Plains – Cinderland

In a word: haunting. Sound-structuralist Scott Morgan (aka Loscil) pairs up with cellist Mark Bridges, and the soundbeds this ambient duo cooks up are breathtaking gossamer. Hopefully, this is the first collaboration of many to come.

BEST RECORD THAT MIGHT HAVE COME OUT IN 2016
Christian Frederickson, Ryan Rumery and Jason Noble – The Painted Bird / Amidst

Frederickson and Noble, in their last recorded collaboration before Noble’s tragic death, sound riveting and engaging on the self-released and elegiac score to this dance cycle. Rumery plays the role of Kyle Crabtree/Edward Grimes perfectly, adding a spine to airy instrumentals.

BEST FINAL RECORD
STNNNG – Veterans of Pleasure

Yes, it’s true: STNNNG appears to have gone the way of the dinosaur. But, what a way to go! The Minnesota group’s final blast of art-punk, recorded with precision and care by the one and only Steve Albini, is incredible stuff.

BEST RETURN TO ROOTS 
Iron & Wine – Beast Epic

It was heralded in every corner so it might as well be heralded here: Sam Beam did an excellent job of stripping his songwriting down and getting to the heart of the matter on a record that recalls early gems like The Creek Drank The Cradle.

BEST BETWEEN-PROJECTS AFFAIR
R. Ring – Ignite The Rest

Kelley Deal finds love beyond The Breeders with this engaging little full-length outing with Ampline’s Mike Montgomery. Raw and writerly, Ignite The Rest exudes a bizarre but inviting kind of natural beauty.

BEST SUPERGROUP RECORD
Dead Cross – S/T

Boasting a line-up featuring members or ex-members of Faith No More, The Locust and Slayer, this hardcore-punk super-group managed to defy expectations and add up to more than the sum of their parts. Now, if only they get Mike Patton to stick around long enough for a sophomore LP.

BEST FOLLOW-UP TO A RECORD THAT WAS ALMOST RECORD OF THE YEAR
Loscil – Monument Builders

Can Loscil’s Scott Morgan sound any better than he did on 2014’s Sea Island? Turns out he can. When Morgan wasn’t busy working on High Plain’s epic debut – another Top Ten selection this year – he constructed this gem, a really murky, melancholy slice of ambient textures.

PITTSBURGH RECORD OF THE YEAR
Radon Chong – I Keep On Talking To You

This Pittsburgh act crafts musical nooses out of knotted guitars and, on its debut, amazingly finds the precise intersection of post-rock scale and Captain Beefheart’s atonal laments. Simply leaves everyone else writing guitar-driven indie-rock in the region looking clueless or misinformed.

-30-

Album Review: The Sun Machine, “Turn on to Evil”

The Sun Machine certainly has its musical reference points down pat.

On its evocative Turn On To Evil LP, which was released two days ago through Electric Church, the Austin “third-coast” quintet sounds like a band possessed by the sometimes-raw, lo-fi haziness of 60s garage-psych. And, on the LP’s 10 songs, they prove themselves mighty purveyors – as well as, one would assume, avid consumers – of the medium.

All the period details are here. There are the shards of electric guitar, planted somewhere between the clean tones of 50s doo-wop and the distorted crunch of 70s arena rock; the flighty bass patterns, soliciting with blues scales as much as traditional rhythm-n-blues/early rock pitter-patter; the pumping of what sounds like a Farfisa; the honey-warm backing melodies accenting the more traditional (and often subdued) leading man. Like I said, these guys have their details down.

But is it any good? Well, yeah. The record opens with the doo-wop ballad “I Want To Drugs (With You)” and pretty much soars, appropriately high as a kite, from there. Tracks like “The Spell” and “The Wasp” call to mind The Zombies, where others reference The Doors (“Is This The End Again?”) Sometimes, singer/guitarist Nathanael Rendon sounds like Tommy James. At other times, his delivery could front Question Mark and The Mysterians. Rarely does The Sun Machine reach for a reference point it doesn’t capture to a T.

After listening to the record, it’s not any more clear why The Sun Machine is so hyper-focused on recreating a distant musical trope – but it, also, almost seems entirely beside the point. While the lyrics sound more contemporary (there are, from what I can tell, more than a few mentions of the life of a music scene’s underbelly), the sound is steeped in the 1960s. And, if that’s good enough for you, it’s good enough for them, too. The 13th Floor fans out there, when they’re not dropping sheets of acid, will eat this stuff up.

Soul Serenade: Barbara Lewis, “Thankful For What I Got”

And here we are. Thanksgiving. The world outside can seem cold even to the most optimistic among us. Political rancor is tearing friends and families apart. Each day seems to bring news of the loss of another of our cherished artists (R.I.P. Della Reese). Meanwhile, the world is poised on the brink of … something. The hope is, and the belief has to be, that it’s something good. A reawakening if you will.

Like many of you, I’ve been thinking a lot about all of this. Maybe it’s my age. Maybe I’m just tired. The world will do what it will do. I’m not saying that people can’t affect change. I’ve seen it happen time and again. But at this point, all I’m really interested in is making sure that my own family is safe and secure. Maybe it’s selfish but I think if all of us start there maybe the love can spread because as Stevie Wonder once sang, “love’s in need of love today.” It’s truer than ever.

I don’t have a lot to write about the music today. I’ve written about Barbara Lewis and her 1963 hit “Hello Stranger.” It was her biggest hit by far, reaching all the way up to #3 on the Billboard Hot 100, but not her only hit.

Barbara Lewis

Lewis was born in Michigan and she was still in her teens when her recording career began. At first, she worked with a DJ by the name of Ollie McLaughlin. Her first single, “My Heart Went Do Dat Da,” was released in 1962. While it didn’t become a national hit it was a regional success in the Detroit area. Next up was “Hello Stranger,” one of the songs Lewis wrote for her debut LP. Follow-up singles like “Straighten Up Your Heart” and “Puppy Love” were moderately successful.

For her next single, Lewis collaborated with the legendary producer Bert Berns. The result was her second smash hit, “Baby I’m Yours” which reached #11 in 1965. The follow-up single was “Make Me Your Baby,” also produced by Berns, and it reached the same spot on the chart that year. Lewis had one more Top 40 hit in 1966. “Make Me Belong to You,” a song written by Billy Vera and Chip Taylor, was a #28 hit that year.

That was pretty much the end of chart success for Lewis although a couple of other singles straggled into the Top 100. She also made an album for Stax at the end of the ’60s that found her moving from her smooth pop sound for something grittier. But this being Thanksgiving, I wanted to feature a record appropriate to the season. In 1968, Lewis released a song that she had written called “Thankful For What I Got” on Atlantic Records. It was not a hit.

“Hello Stranger” and “Baby I’m Yours” have been covered numerous times over the years. Lewis’ music remains a fixture of the Carolina Beach Music scene. Lewis herself continued singing right up to this year when health issues forced her to retire.

Today is a day to draw your loved ones close to you. Look around at those people at your table today. Remember how much they mean to you despite their flaws, and yours. But don’t just think about it, tell them. Do it today because what I’ve been trying clumsily to say is that maybe if we share the love with those around us today it can begin to spread from your table. And who knows where that might take us. It’s Thanksgiving.

 
 
 

Popdose Video Premiere: East Forest, “Cairn” (Live)

East Forest’s transient, ambient, electronic sound was born from a place where more than a generous chunk of musical inspiration has emerged over the past half century: drugs. Yes, this alter ego of Trevor Oswalt came to fruition as Oswalt experimented with not only mushroom ceremonies across the US, but also as he delved deeper into himself as a person and musician through meditative experiences both with and without the aid of external goodies.

“I’ve always been inspired by the natural world and the psychedelic experience” Oswalt says. “I prefer to operate where my intuitive musical mind can speak and something larger can come through”

The Pacific Northwest native, who spent a decade in NYC drinking in all it had to offer, called on his shamanistic tendencies for his 2017 release, Cairn. For those of us not seasoned in these wild and wonderful words of nature, a cairn is a stack of stones that marks a trail in the wilderness. For Oswalt, this cairn represents a changing path in his life.

“The past year I was going through a divorce and immense changes which caused me to riff on this idea – where do I go from here?,” he says. “I was also interested in leaving a marker for others, if I found my way.”

In January 2018, Oswalt will re-release Cairn as a deluxe album featuring bonus tracks and B-sides. Today, we’re excited to premiere a live video of the title track, a sonic manifestation of the psychedelic and experimental world Oswalt has created through pursuit of a higher plane. But if that sounds too new-agey or hippie-dippy to you, don’t worry: this song still has a catchy thread that makes it perfect as the soundtrack to everything from a workday chill-out (how I’ve been listening to it, honestly) or the companion for a reflective hike and commune in nature.

The video, which was produced by Sugarshack, a grassroots startup multimedia company that began as a backyard acoustic session series, features multi-instrumentalist Richard Vagner and was shot live in St. Petersburg, FL, adds a visual element, complete with lights and audience energy to this electric track. It gives a whole new, deeper dimension to this stellar song.

Check out the live video for East Forest’s “Cairn” below in its Popdose premiere!

(Feature image by Natalie Moser.)

What’s THAT Supposed to Mean?: Beastie Boys, “Gratitude”

A killer bass line fed through one of the fuzziest pedals ever invented. A heavy dose of wah-wah on a two-note guitar solo. A powerful organ blast. A video riffing off Pink Floyd’s Live at Pompeii. And a bunch of lyrics straight out of Buddhist theology.

This is the same band that had burst onto the scene six years prior throwing pies, yelling about parents talking away porno mags, looking for girls to do the laundry and griping that one of those girls is “jacking (bandmate) Mike D to my dismay”?

Fast forward to 2017, long after the Beastie Boys have retired in the wake of Adam “MCA” Yauch’s death. We’re wrestling with our conscience as a lot of our cultural and political favorites — Louis CK, Al Franken, Bill Cosby — are exposed for their misdeeds. We wonder if we can ever again enjoy the good things they’ve done — and in Franken’s case in particular, we’re talking about a lot of good — knowing what we know now. And what can any of these people do to redeem themselves?

The Beasties’ legacy is mostly positive. But, as this even-handed Medium piece points out, it’s complicated. We don’t have an easy answer to explain why the Beasties were revered in the hip-hop community while other white rappers (think Vanilla Ice) were reviled.

Was it because Licensed to Ill, their mega-smash that dialed up the obnoxiousness to 11, was all just a joke? As Spinal Tap would say about the cover of Smell the Glove, were they making fun of that behavior? That’s one interpretation, but it’s not as easy to explain away the homophobia they expressed in interviews. And the problem with making jokes about treating “girls” as objects is that a lot of guys don’t get it.

So are the Beastie Boys revered today simply because they grew up and spent their later years fighting not for your right to party but for Tibetan freedom? Or perhaps because they built up an archetype and then gleefully smashed it?

Gratitude, the song with the killer bass hook (perhaps foreshadowing Sabotage, the unforgettable track released a couple of years later), certainly flies in the face of any negative stereotype we have of rap rock or hip-hop. This is spiritual rather than sexual, Buddhist rather than braggart.

“Good times gone,” Adam “Ad Rock” Horovitz yells in the opening line. “And you missed them. What’s gone wrong in your system?”

They add a good simile of the streets next: “Things they bounce, like a Spalding.” (A brand of basketball, for those who don’t invest in a lot of sporting goods.)

It’s a short song with just two similar verses, each beginning with “Good times gone” and ending with the two key lines:

When you’ve got so much to say
It’s called gratitude, and that’s right

The sharpest line is in the middle of the second verse: “What you think? That the world owes you?”

We’re pretty far removed from the aesthetic of kids pumping themselves up with talk of their riches, real or imagined. Now we’re talking about serious spirituality. MCA was already taking up an interest in Tibetan Buddhism and thinking about whether our desires end up making miserable.

So while we might argue about whether the Beastie Boys’ early work is sexist or simply immature through a modern lens, we’d have a hard time coming up with anything but praise for this simple, effective shout to quit demanding more from the world and learn to appreciate what we have.

And if we can see good in the Beastie Boys, can we also see good in Al Franken? Or Eddie Murphy? Or anyone else who would do a few things differently if given another chance?

I don’t know. I can wish for easy answers, but the world doesn’t owe them to me. I’ll just listen to this song with gratitude. And that’s right.

And Happy Thanksgiving.

 

Radio City With Jon Grayson & Rob Ross: Episode Thirty-Eight (Version 2.0)

Radio City with Jon Grayson and Rob Ross:  Episode Thirty Eight (Version 2.0) – “The .38 Special #2”

Due to an unexpected technical disaster, the originally-recorded edition of Episode 38 was lost – this was the “38 Special” because it came about in an unusual manner.  Episode 37 was interrupted by weather (!), which caused us to have reconvene later than usual – we record the show on Sundays; we had to do this over a Wednesday and Thursday night, instead.  Electrical storms halted 37 in the middle and we came to the conclusion we’d have to finish on the Sunday, which left little time to devise what topics would be discussed for the upcoming episode.  The show isn’t scripted, but we do trade ideas during the week as to what we’ll tackle but in this case, it was decided “let’s do an improvised show” – and so we did.  It was wonderful, ripe with astute observations and humor and…  it was lost.

Once the problems were worked out, it was decided to do it again – lo and behold, it was to be, again, a spontaneous show.  So with a great deal of pride, Jon and Rob present to you Version 2.0 of Radio City 38.  You may be awakened; you may be offended – but you’ll really enjoy this as much as we did.

Taken in or out of context, this is entertainment at its best, wisest and most forward thinking.

Radio City With Jon Grayson & Rob Ross: Episode Thirty Eight


The podcast will be on the site as well as for subscription via iTunes and other podcast aggregators. Subscribe and let people know about Radio City, as well as Popdose’s other great podcasts David Medsker’s Dizzy Heights and In:Sound with Michael Parr and Zack Stiegler.

Popdose Exclusive Video Premiere: Kill My Coquette, “Rock & Roll Ain’t Dead”

Popdose is pleased to present a brand new video from Los Angeles’ Kill My Coquette, who we introduced you to a few years ago.  They’re back with their high-energy brand of neo-garage punk and are being aided and abetted by one of the original “garage” legends, Standells co-founder Tony Valentino.  If that wasn’t enough, New York ’77-era legend Clem Burke of Blondie is behind the drums.  “Rock & Roll Ain’t Dead” is in-your-face and to the point.
 
The track has gotten some early buzz from Rodney Bingenheimer, who debuted the track on his Sirius XM radio show, which can be heard as part of the “Little Steven’s Underground Garage” channel.
Give it a glimpse and let it sink in…

The single will be officially released on Friday, November 24th, 2017.

http://killmycoquette.com/