David Bowie Sends a Christmas Greeting in the Voice of Elvis Presley (and Sings “I Can’t Help Falling in Love With You”)

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After David Bowie died in 2016, we dis­cov­ered that the musi­cian had a knack for doing impres­sions of fel­low celebri­ties. Could he sing a song in the style of Iggy Pop, Lou Reed, Tom Waits, and Bruce Spring­steen? Turns out, he could. And yes, he could do an Elvis impres­sion too.

The clip above…

Holidays Spent with the Muppets — Pretty Much Pop: A Culture Podcast #164

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For Pret­ty Much Pop’s annu­al hol­i­day episode, your hosts Mark Lin­sen­may­er, Lawrence Ware, Sarahlyn Bruck, and Al Bak­er talk all things Mup­pets, but in par­tic­u­lar the 1992 film The Mup­pet Christ­mas Car­ol, where­in Michael Caine gives us just as strong and seri­ous a Scrooge as you might…

The Story of The Pogues’ “Fairytale of New York,” the Boozy Ballad That Became a Beloved Christmas Song

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Note: With the recent pass­ing of Shane Mac­gowan, we’re bring­ing back a post from 2018 and revis­it­ing The Pogues’ song “Fairy­tale of New York.” The off­beat Christ­mas clas­sic is cur­rent­ly #5 on the Bill­board Sin­gles Chart in the UK.

Drug­store Cow­boy, Barfly, Leav­ing Las Vegas, even Bon­nie and Clyde… we love a good…

How Pantone Became the Global Authority on Color

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Pan­tone has declared “Peach Fuzz” the Col­or of the Year. This selec­tion, how­ev­er, rais­es the ques­tion: How did Pan­tone become the glob­al author­i­ty on col­or? Above, the Wall Street Jour­nal describes how Pan­tone began as a com­mer­cial print­ing com­pa­ny dur­ing the 1950s. Then, in the ear­ly 60s, it evolved into some­thing quite dif­fer­ent. Rec­og­niz­ing…

Hear the Haunting Aztec “Death Whistle,” the Instrument That Made Sounds Resembling a Human Scream

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The received image of the Aztecs, with their sav­age bat­tles and fre­quent acts of human sac­ri­fice, tends to imply a vio­lence-sat­u­rat­ed, death-obsessed cul­ture. Giv­en that, it will hard­ly come as a sur­prise to learn of an Aztec musi­cal instru­ment dis­cov­ered in the hands of a sac­ri­ficed human body, or that the instru­ment has come to…