Kirk and Gary Tanguay discuss the Donald Trump speech to close the RNC on Thursday night, and discuss how effective it was. Also, Kirk challenges Hillary Clinton supporters to call and tell him why to vote for her.
Kirk Minihane & Gary Tanguay are in for a Friday edition and open the show discussing members of the media getting into the baseball Hall of Fame, among other bipolar topics.
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Tanguay ticks off Kirk and Gerry by calling David Price 'above average' so far this season. Before that, though, the guys discuss the Red Sox 11-7 win over the Giants at Fenway which featured three homers from Hanley Ramirez and a stumble from Drew Pomeranz.
This blog exists because if people are nerds about sports, they’re probably nerds about other things. My love of sports is relatively healthy. My love of pop music might kill me.
One of the best things about Twitter is finding people who share your tastes. My middle school days of being obsessed with Metallica have provided me more than enough information to shake my head at followers who tell me “… And Justice For All” is a great album. Because musical taste is purely subjective, any “take” is tolerated and can be thoroughly dissected.
(Well, mostly any take. “Rap music just isn’t music!” is a not-so-smart way of accidentally declaring you’re kind of racist. Just say you don’t like it.)
Yet of all the different artists one can discuss and argue about on Twitter, there is one that blows them all out of the water on the polarizing scale:
Ween was and is weird. From a musical (and perhaps also drug) standpoint, the duo of Aaron Freeman and Mickey Melchiondo (a.k.a. Gene and Dean Ween, respectively, a.k.a. Gener and Deaner, respectively) did everything.
The average non-Ween-fan has definitely heard Ween before. If they don’t know them from Phish’s cover of “Roses are Free,” they know them from having heard “Voodoo Lady” in “Road Trip” or “Ocean Man” in “SpongeBob SquarePants.”
But of all the things Ween did, they didn’t suck. They were extremely versatile. Listen to “Don’t Laugh (I Love You),” then “Freedom of ’76″ and then “Back to Basom.” In three songs, you’re taken on a journey from drum machine hell to falsetto purgatory and finally to Mellotron and synth heaven.
After starting out in the mid-80s and putting out 11 non-live albums from 1990 through 2007, Ween broke up in 2012 when Freeman announced that was no longer Gener, a move that was linked to both his burgeoning sobriety and his desire for a solo career. Last year, the band began announcing reunion shows, and on Wednesday it was announced that they’ll play Boston’s House of Blues in August. They’ve amassed enough of a catalogue (and a loyal enough cult following) that they can pretty much play whatever they want.
There’s nothing wrong with weird. The world is a better place with Ween in it.