SCREEN
The house lights haven’t even fully dropped and David Byrne is already walking out alone, sneakers on a bare stage, carrying a boombox in one hand and an acoustic guitar in the other. He sets the boombox down. He presses play. A drum machine clicks out the beat and
GEAR
Pick up a TPS-L2 and the first thing you notice is the weight. It's a brick with a hinge, blue-gray steel and a lid that pops open with a spring-loaded snap you feel in your fingertips before you hear it. This is not a device
TAPE CULTURE
You could tell a lot about a person before the tape even got to side A. Not from the songs - from the label. The Brother P-Touch PT-65 hit shelves in the early 90s and it changed the whole diplomatic language of the mixtape. Suddenly you could run a
TAPE CULTURE
July 21, 1987 is the day Appetite for Destruction hit cassette shelves, and if you bought it that week, the J-card in your hand was already a compromise. The original artwork was a Robert Williams painting, also called Appetite for Destruction, showing a robot assailant and the monster coming
SOUND
Pull the gatefold and there is no band photo. No liner note thanking the drummer, no lyric sheet, because there are no lyrics.Just a cracked planet on the cover and six untitled tracks named Oxygène I through VI, and somehow this thing outsold rock albums in France in 1976
TAPE CULTURE
Every dual-cassette boombox had the same trap built into it: a button labeled high speed dubbing sitting right next to the one that did it properly. Somebody always reached for the fast one first. Four minutes to copy an entire album side felt like a magic trick compared to
RADIO DAYS
You knew the rotation before the DJ said a word. Same thirty songs, cycling every three or four hours, station after station, market after market. That wasn’t a coincidence of taste. It was a research method, and it had a name: the hook test. Program directors in the late
SCREEN
Repo Man cost somewhere around $1.5 million , and every frame tells you that before a single line of dialogue lands. Not because it looks bad. Because it looks like nobody was ever going to stop you from noticing the seams, and Alex Cox decided the seams were the movie.
VINYL
Before you flip a record over to check the labels, flip it under a lamp and look at the dead wax. That blank-looking ring between the last groove and the label is where the truth lives. Everything printed on the sleeve is marketing. Everything scratched into the runout is
TAPE CULTURE
Everybody had an opinion and nobody could actually explain it. Maxell XLII people talked about warmth. TDK SA people talked about clarity. Both camps were describing the same switch on the front of the deck and neither one usually touched it. That switch matters more than the brand. It’s
News
This is GenX Rocks, a brand new site by Yoav Gal that's just getting started. Things will be up and running here shortly, but you can subscribe in the meantime if you'd like to stay up to date and receive emails when new content is published!