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National Features >
City Pages
Michele Bachmann, Unmuzzled
You don't need to read Sarah Palin's book to hear the ravings of a mad woman.
By Matt Snyders
Miami New Times
Pimp Daddy
The rise and fall of a chubby sex-cult leader.
By Natalie O'Neill
Riverfront Times
Babe 'n' Arms
Tom was a hot-tempered cross-dresser with a garage full of guns--and then he became Rachel.
By Nicholas Phillips
Dallas Observer
The Fight for Texas
Rick Perry and Kay Bailey Hutchison are locked in a battle over the soul of the GOP. They're also running for governor.
By Sam Merten
Hype, Man
Taking the piss out of some of the year's most universally beloved albums.
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By Andrew Miller
Published on December 30, 2004
Green Day, American Idiot (Warner Bros.). This overwrought rock opera lacks compelling characters, pensive lyrics and the musical momentum to sustain its grotesquely bloated running time.
Handsome Boy Modeling School, White People (Atlantic). Rambling jokes and stunt-casting cameos damn this intermittently amusing album with a novelty-record shelf life.
The Killers, Hot Fuss (Island). The Killers raided the '80s, stole two songs (a pallid power ballad and a derivative dance jam) and stretched this thin template to album length.
Modest Mouse, Good News for People Who Love Bad News (Epic). Modest Mouse strips funk of its party-starting power and sordid sex appeal; Good News sounds like the Chili Peppers catalog as covered by art-school eunuchs.
The Roots, Tipping Point (Geffen). Thanks to a stubborn live-instrumentation bias, critics continue to tout the Roots' static backdrops as superior to hip-hop's dynamic electronically enhanced alternatives.
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