We may no longer be living in the era of rock and roll, but that doesn’t mean we don’t have a pantheon of great films to help us relive the glory days. Not all the films on this list will cover rock music specifically, but each brings out excitement and attitude that’s at the heart of any genre. Some real, some fictional, you’re likely to enjoy all of these films, even if some of them are unfamiliar.

DIG!: The Brian Jonestown Massacre isn’t a household name, but their story will stick in your memory forever. Fronted by tortured genius Anton Newcombe, the BJM pours out soulful rock recordings at a staggering rate, even as the personalities at the center threaten to unravel. Newcombe might benefit from a few lessons at Ken Tamplin Vocal Academy, but his unconventional talent is nonetheless the envy of more successful rivals The Dandy Warhols. Bizarre, hilarious and oh-so-90s, “DIG!” is a crowd pleaser and a treat for anyone who loves quotable docs.

Hedwig and the Angry Inch: “Hedwig” might be the catchiest rock musical of the past 20 years, but it’s unconventional subject matter has kept it under the mainstream radar. On the surface, it’s a gay love and transcendence story, but its themes are truly universal. With an original earworm soundtrack that recalls Elton John and Meatloaf, you’ll be humming these tunes for days. It’s subversive, colorful and unlike anything you’ve ever seen before.

The Boyfriend: Director Ken Russell is more famous for “Tommy,” but he created a better, more charming musical in “The Boyfriend.” The simple story of a timid understudy (played by 70s it-girl Twiggy) playing opposite her crush, the tale is taken to unbelievable heights with Russell’s keen direction and vision. The costumes, sets and fantasy sequences are among the most colorful and kaleidoscopic as any captured on film. Truly a forgotten masterpiece.

24 Hour Party People: A partly fictionalized take on the very real Factory Records (Joy Division, New Order, the Happy Mondays), “24 Hour Party People” is a record of one of the coolest music scenes of all-time. Following several beloved artists in their early development to the pinnacle of their success, we get to know one of the most idiosyncratic personalities of the entire movement: Shaun Ryder. Ryder might have benefited from vocal lessons from Ken Tamplin, but this doesn’t mean that he can’t engage an audience. “24HPP” is inspiring and incredible, a cultural movement that could never exist again in exactly the same way.

A Mighty Wind: When all is said and done, “A Mighty Wind” might just beat out “Spinal Tap” for the title of best Christopher Guest mockumentary. This time, the subject is folk music (the 60s and 70s variety). Guest and company skewer all of the goofiest tropes with a series of memorable characters and a score of songs you’ll remember forever.

Every day is a good day for a music movie. If you haven’t seen these, do yourself a favor and rent one. They’re all fun and, hopefully, new to you.

Music and comedy have gone together for ages, ever since the first little ditty with nonsense words, or a dirty limerick put to music, all the way up to the operettas of Gilbert and Sullivan, vaudeville and even “Weird Al” Yankovic. Comedies have used music to great effect in the past, whether it’s the crooning of Nick Rivers in “Top Secret,” the lip-synching to Queen in “Wayne’s World,” or the John Farnham sing-a-long turned riot in “Hot Rod,” and many others. But there is a subsection of comedy films that is particularly obsessed with music, parodying a specific brand of music and musician to great effect.

The obsession with pop culture fads is nothing new, with Hollywood chasing the music scene for laughs arguably beginning with The Monkees (see our interview with Michael Nesmith). The accompanying sitcom that poked fun at Beatlemania while aping the look and feel of “Help!” and “A Hard Day’s Night” was an early shot in the battle between comedy and music.

It helps that the songs themselves are very catchy (with ringers like Neil Diamond and Carole King brought in to pen the tunes), but the parody of a Beatles-like band was mostly harmless (though incredibly popular; there was a brief time when the Monkees were outselling the Beatles in the UK). But taking that same approach of aping a film style and matching it with a popular brand of music would soon take off in film thanks to the incredibly influential “This Is Spinal Tap.” The mockumentary (or “rockumentary,” as it’s dubbed early on) is different from “The Monkees” in that it wasn’t creating a pre-fabricated Fab Four but instead skewered rock outfits like Led Zeppelin, The Who and many others for their outsized personalities, inflated sense of self-worth and overly elaborate stage antics.

“This Is Spinal Tap” is a watershed film on many fronts, but one way that made it a trailblazer was its take on the music industry. Full of vultures and opportunists who are happy to milk an act for all that it’s worth, the film doesn’t just lampoon the various hangers-on surrounding (and suckling on) the band, but the actions of the band itself comes under scrutiny. Whenever something causes shockwaves through the culture, it draws the attention of satirists. What makes the music industry even riper for parody, besides its cultural domination, is that it is a weird intersection between commerce and artistry. Moreso in recent times, where the act has to be photogenic and synergize with commercialization of its songs, but there’s always been an uneasy balance between the sincerity of the music and the need to push the product. Christopher Guest and Rob Reiner use that inherent tension as a source of comedy in “This Is Spinal Tap” between musicians that just want to create art and a brand being pushed out to the masses. Taken to extreme lengths where an artistic vision is catered to, and usually bungled by some member of the entourage, it finds hilarity in these pampered personas that should be all about the music but are also showmen and showboats, which ends up undercutting the seriousness of their convictions.

As trends change in music, so do the comedies about the music business. With the rise of rap came Chris Rock’s “CB4,” about a supposedly hard rap group that is, in fact, a bunch of posers. Rock uses groups like N.W.A., 2 Live Crew and others as the template for the type of music the group makes and shenanigans that they get into. But here’s another example of why there’s so much comedy to mine from the music business: there’s usually a disconnect between the public and private personas of the musicians. Since the musicians themselves are part of the product being sold to audiences, they have to live up to that expectation all the time. That creates disparity between personalities, between a lie and the truth, which is a breeding ground for comedy wherein someone is forced to live two lives and appropriates a certain persona just to appease the masses.

Something else that comedy films focused on the music business do well is mock the style of films about music. There’s the classic mockumentary approach found in “This Is Spinal Tap” and “CB4,” which is akin to many music documentaries and “Behind the Music” approaches to various musical acts. Guest’s “A Mighty Wind” is filled with oddball characters and funny songs, but it also makes a mockery of the concert film, like Jonathan Demme’s “Stop Making Sense” or Martin Scorsese‘s “The Last Waltz.” By taking on the language of film itself and making it appear legitimate like those other films, it grounds the comedy and makes it even funnier because it’s recognizable from these serious movies.

One film that perfectly mocks both the music industry and a subgenre of film is “Walk Hard: The Dewey Cox Story.” Based in part on biopics like “Ray” and “Walk the Line,” the film is a recounting of a beloved and influential (fake) musician who helped shape music history while also dealing with personal demons (and lots and lots of drugs). The film offers lots of deep cuts to musical references while also wallowing in the tropes of the beleaguered musical genius tortured by his own regrets, shortcomings and addictions. It plays up the clichés beautifully and hilariously while also delivering some excellent musical references, like this one to “Smile”-era Brian Wilson trying to craft songs out of impossible instruments:

As new pop stars are manufactured and their lives enter a new realm for voyeurs to ogle via social media, a new sort of docu-film has arisen like Justin Bieber’s “Believe” or Katy Perry’s “Part of Me” that offers a concert experience alongside a glimpse at the “real” person behind all of the stage lights and costume changes. Complete with catchphrases, stupidly large entourages and attempts at either being scandalous or an “Aw shucks” humble pose, these films are boring to anyone not already a fan of the music and seemingly reveals the facade to be as made-up and corporately designed as commonly believed (or feared). That cardboard cutout persona matched with nonsensical music bred a perfect template to be mocked in “Popstar: Never Stop Never Stopping,” which follows these films and their two-dimensional subjects to its insane conclusion by creating an inept musician who adds gimmick after gimmick to boost record sales, grow audience sizes and attempt to be anything more than a forgotten one-hit wonder.

The music industry is the perfect target for comedy because of the inherent conflicts within it. There’s the intersection of the serious and the ridiculous, as artistry has to pair up with gimmickry in order to become popular. It’s not enough that a song is good; it has to be marketed the correct way for it to find its audience. There’s also the fact that with millions of adoring fans listening to the song and coming to concerts, giving immediate positive feedback to the artist, it’s no wonder that so many develop ego problems (or, for a select few, necessitates some form of bravado on their part). Even though these performers are just cogs in a corporate machine, spinning out product to make record companies and other industries rich, many artists still see themselves as delicate snowflakes deserving of praise and worship. A musician can write a deeply personal song, but by the time it ends up in a Target commercial or on stage with a ridiculous foam shark dancing to it, that personality has become a part of a grander capitalist scheme. These conflicts are inherently funny, and the personalities involved just make it more exaggerated and perfect targets for parody.

There have been many tributes to Prince since he passed away, but Bruce Springsteen and the E Street Band playing “Purple Rain” is definitely my favorite.

We’re excited to feature this gallery of beautiful Thai singer and actress Plah Blah Blah, who recently released her latest single/video “Wild One,” which you can watch below. You won’t be the first, as it already has over 1.7 million views! We love the pink wig and sexy lingerie.

You can also see much more of Plah on her official website and also on Facebook and Instagram. Enjoy!

David Bowie was one of the most unique and innovative artists of the 20th century. It wasn’t just about his incredible music, but the man was a true showman who reinvented himself and his look over and over again.

Bowie passed at the age of 69 after a battle with cancer, yet the news was a shock to most people who had no idea he was ill. He had just released a new album and I was just thinking the other day if Bowie had yet another influential turn in his career that would have an impact on music, style and popular culture.

Ten years ago we published our David Bowie Deep Cuts list as part of our ongoing series of looking back on the music of great artists. Check it out and you might be introduced to some great music from Bowie that you haven’t heard before.

His list of hits is long of course, and I wanted to post a great video, but “Rebel, Rebel” is one of my favorite Bowie songs so that seemed appropriate, though the video here just includes one classic Bowie photographed. Bowie was a rebel who will truly be missed.

It’s been five years since Jesse Malin’s last album of original material was released. The time since has seen him tour the world numerous times and reunite with his old band, D Generation, among other things. But finally, the time is here and his new release has been unleashed for us to immerse ourselves in.

“New York Before the War” is an excellent collection of songs that spans a wide range of styles. Taken as a piece, the 13 tracks on this new release are of higher quality than most artists best-of collections. One after another, the tunes come at you in a range of styles. Highlights include “She Don’t Love Me Now,” a song with so much Rolling Stones-like swagger and sway you can imagine Mick singing it, but then you remember that the Stones haven’t recorded anything damn near this good in 30-plus years; “Oh Sheena,” an ode to The Ramones that also has some flourishes that bring to mind “Summerteeth”-era Wilco; and “Turn Up The Mains,” which has a building intensity that feels like it’s going to launch into another sonic stratosphere, but instead teases and tempts your ears with a consistent attack. The first time I heard Jesse road-test “Bar Life” almost two years ago, my jaw dropped. It was not only a gorgeous tune that sounded unlike anything else in his canon, but it also happened to feel like a perfect album closer. As it turns out, it does close “New York Before The War” in beautiful fashion. The first thing I want to do the minute it ends is play the album again from the top.

The biggest difference between Jesse’s previous releases and “New York Before the War” is scope of sound. His debut solo release, “The Fine Art of Self Destruction,” had the feel and isolation of Bruce Springsteen’s “Nebraska” filtered through the less minimal sound of Joni Mitchell’s “Blue.” 2010’s “Love It to Life” showed more of a biting edge and inched slightly closer to the sound of his old band than his solo work in some aspects. Each of his other albums also had a feel unto themselves. “New York Before the War” has all of that and so much more. Be it an overt ode to the Ramones, hints of Cheap Trick and the Mermen, or the simple fact that New York oozes from every pore. With this offering, Jesse has made an album that is both his most diverse and most New York to date. The influences are there and they are many, but more than anything, this album is pure, unadulterated Jesse Malin at his best. Is this his masterpiece? I’m a believer that time decides those things. I’ll tell you this: it sure sounds like a masterpiece, and it’s quite easily the best new release I’ve heard by anyone in quite some time.

Jesse and his band are touring right now, and in tow is a road case stuffed with new songs and plenty of old ones too. Over the last 22 years, I’ve seen him play stages of every size: clubs, theaters, living rooms and even Madison Square Garden; he owns them all. Whether he plays solo acoustic, with a full band or anything in between, he unfailingly delivers a satisfying performance packed with passion, song craft and anecdotes night after night.

If you know Jesse’s work, you’re likely a fan already. On the other hand, if you don’t know his songs, you’re losing at music. Pick up “New York Before the War” and join the winning team. You’ll thank me later.

Christina Aguilera found herself playing the Wheel of Musical Impressions on The Tonight Show with Jimmy Fallon. Both of them were pretty impressive with their impressions but Christina stole the show with an epic imitation of Britney Spears singing “This Little Piggy.”

We spoke to Nelly at Bud Light’s House of Whatever in Phoenix, Arizona about his career, the (endless) rise of Taylor Swift, and how he does his best work on the toilet, while some light jazz played in the background.

Here are a few highlights.

On “Country Grammar” and the line, “Get a room in Trump Tower just to hit for three hours/kick the bitch up out the room ’cause she used the word ‘Ours'”:

“It came from real life. It was cool. But you’re talking about lines that were said in 2002. I was a young, thriving Nelly. Hopefully, when you get in this game, you build your own type of fan base and actually have fans that appreciate what you do and grow with you. It’s funny, because it’s a double-edged sword. You hear so many people say, ‘I wish you would do another album like Country Grammar.’ And I say, ‘You were in school when Country Grammar came out, right. You can’t get that feeling back. The reason Country Grammar meant something to you is because you were in school at that time. It was the buddies that were around you, the moment for you. It was your theme music to what you were going through in that life.’ You can’t make that. You don’t think Michael would love to make another Thriller? You think he wasn’t tryin‘? You can’t, because it was that moment. It was music that was unheard at that time. And you can never get all of those elements back again.”

On making new music:

“I don’t chase [past success]; I just make music. Music is creativity, it’s a career. You up, you down, you up, you down… You can’t have a career without an up and down. Nobody is consistently up. Well, probably Taylor Swift. Taylor Swift is probably the only one I see that is like, ‘Yo, she’s just gonna keep going (up), huh? Just gonna keep fuckin’ goin’.”

On when he’s the most creative:

“Songs pop up at the weirdest moments. You can be in a hotel, sittin’ in a room, being in a club, bein’ on the shitter. That’s my office. I can think, I’ve got the phone on the wall, set the laptop up on the dirty clothes hamper; I feel my freest.”

On what motivates him:

“I don’t do that anymore. When people are like, ‘Yo, what do you want to do?’ It’s not about that no more for me. Succeeding is not what drives you. I think what drives you is knowing where you don’t want to be – I know where I don’t want to be. That’s the motivation to keep going. Because as long as I keep going, I’m not gonna be there. Because to say what I want to do, I’ve accomplished so much and I’m steady going, I just don’t know, I just keep it movin’. But I know one thing that never changes; It’s where you don’t wanna be.”

On what makes Nelly, “Nelly”:

“It was everything. When you get counted out so many times, you look for a sense of, ‘Where am I going to channel and put this energy that I have to succeed?’ Some kids take it and take it the wrong way. Some kids work hard, they study, they go to school, they graduate and become something. Some kids do it through sports. But again, being a product of who you are, it can be a fuel. Sometimes, too much fuel can blow you up. But majority of that time, if you take that fuel and use it right, you can go to the moon.”

“You’re not content. If you’re content, you’ve already started the giving up process. This is a game of creativity, being competitive, it’s a ‘dog eat’ and I love it.”

Starting on October 17th, HBO is broadcasting a new mini-series called “Sonic Highways” featuring Dave Grohl and the Foo Fighters as they travel around the country recording a new track in various cities. They’ll visit New York, Chicago, Los Angeles, New Orleans, Nashville, Austin, Seattle, and Washington D.C. and feature artists like Willie Nelson, Bonnie Raitt, Dolly Parton, Buddy Guy, ZZ Top and Joan Jett as they dive into the music scenes of each city. Have just been in Nashville this sounds like a real treat for music buffs. I’m not a huge Foo Fighters fan but I suspect I will be by the end of this series. The trailer above even teases an interview with Grohl talking to President Obama. Put it on your calendar!

Here’s a great new music video featuring Victoria’s Secret model Maryna Linchuk shot in beautiful Tulum, Mexico. Maryna looks amazing in this video as you can see in the screen shots above. The track is Mr. Probz “Waves (Robin Schulz Remix)”, which was recently released by Ultra Music. It has a great beat and a very chill vibe that fits the exotic location of the video perfectly, and of course adding Maryna makes it even better. You can purchase the track here.

Mr. Probz grew up outside of Amsterdam and has made quite a splash with “Waves” as DJs around the world have been playing bootleg remixes of the track even before its official release. You can follow him on Facebook and Twitter.

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