tina wolf

Wolf and I
A playlist dedicated to Kala and Wolfgang from Sense8. It's my interpretation of their situation through out seasons 1 and 2, so that the song's lyrics tell their tale. The last few, though, wish for a happy ending for them in their Paris. There are a few songs from the show itself, but mostly it's the songs that I relate to them. It's a very melancholic, slow and gentle mix.


1) Aurora - Nature Boy (acoustic)

2) Adna - Dreamer

3) BLAJK- Lost

4) Emmit Fenn - Painting Greys

5) SYML - Where’s my love

6) Strand of Oaks - Wait for Love

7) Wolf Saga - Calling

8) Fleurie - Sirens

9) Oh Land - Wolf & I

10) Kings of Leon - WALLS

11) Lamb - Wise enough

12) The Kills - Doing It To Death

13) Deftones - Drive (The Cars Cover)

14) Lana Del Rey - Say yes to Heaven

15) Snow Ghosts - An The World Was Gone

16) Jetta - I’d Love To Change The World

17) Raffertie - Rain

18) Chelsea Wolf - After The Fall

19) IAMX - This Will Make You Love Again

20) Warpaint - Love Is To Die

21) Woodkid ft Lykke Li - Never Let You Down

22) Lamb - Gabriel

23) Sia - My Love

24) Beirut - Nantes

Tracing the Rock and Roll Race Problem

The premise of Jack Hamilton’s deep new study Just Around Midnight: Rock and Roll and the Racial Imaginary seems like something that’s been on rock history’s tongue for a long time without ever quite leaving it.

Chuck Berry, a black man with a guitar, had been a rock and roll archetype in 1960, but by the end of the decade Jimi Hendrix would be seen as rock’s odd man out for being… a black man with a guitar. How did that occur?

The book, out September 26, began life as Hamilton’s graduate thesis (he’s a professor at the University of Virginia). But while it’s intellectually rigorous, Just Around Midnight is also clearly and entertainingly written—not a surprise to anyone who reads Hamilton on Slate, where he’s one of their music critics.

Hamilton locates the ways “rock and roll” (which tended to denote everything from soul to surf music) became just plain “rock” (which tended to mean only guitar music by white people)—namely, in San Francisco’s psychedelic scene, full of ex-folkies.

There, a pattern repeated from the folk revival that preceded Beatlemania, in which largely white musicians tended to idolize black forebears while ignoring contemporary R&B.

As Hamilton point out, this mindset often put black rock and rollers into the “predecessors” category even when the musicians in question were peers and contemporaries, like when a Beatles biographer claims Smokey Robinson as a precursor when, in fact, Robinson was born the same year as John Lennon.

Even that précis doesn’t do justice to the richness of Hamilton’s ideas, or his wide-ranging research, both archival and musicological—the latter particularly during a chapter on the musical interrelationship of Motown and the Beatles. Are there two more oversaturated musical topics on the planet?

Along with the rest of the ’60s rock and soul canon, Hamilton thinks, convincingly, that we’ve only begun to understand them, especially side-by-side. [Read More]

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