Are they might be giants gay
ONE WEEK // ONE BAND
What We Talk About When We Talk About They Might Be Giants: On Roots and Context
When listening, thinking, and talking about They Might Be Giants, we have a practice of putting the band on an idiosyncratic pedestal–”It’s like they came out of nowhere! They’re so quirky they don’t sound like anybody else!” And it’s true that after the release of Flood, and especially after they left Elektra in 1997, the Johns retreated into a more insular earth that mostly catered to their established fanbase. But I’d venture to disagree that, especially at the beginning of their career, TMBG were much more a product of their time and place than they typically get credit for–specifically 1980s New York City.
Some context: 1986, the year TMBG’s debut album was released, was the same year that saw the release of Janet Jackson’s career defining Control, Madonna’s True Blue, and was the same year that Whitney Houston’s debut record dominated the Billboard charts. It was also the same year that New York arbiters of cool, Sonic Youth, released their brittle Evol, British New Wave legends XTC reb
They Might Be Giants - Blog Posts
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Trans TMBG Songs
This Might Be a Podcast trans themed episodes: episode 1, and episode 2. They're all previews because they're Patreon exc
Myke Weiskopf Interviews Adam Bernstein
MYKE WEISKOPF INTERVIEWS ADAM BERNSTEIN
Weiskopf: How did you first come across the Giants?
Bernstein: In 1986, I had just left my day occupation and I wanted to direct a music video, and had saved up about $1500. I was going to clubs and calling around, looking for a band to labor with. A guy named Mark Boyer grew up in the same town with the two Johns, so he suggested I go see them. I went down, saw them at Darinka, and immediately liked them; I reflection they were very humorous. I went backstage after their set, said hello to John and John, and told them that I wanted to perform with them. Then I picked up this cassette tape that they had on sale at Finyl Vinyl (the 23-song tape). A week later, Flansburgh came down to my apartment to talk about the video. Flansburgh was wearing deep dark purple nail polish, and he looked at me and he said, "I'm gay." So, we mapped out what we wanted to do. Flansburgh told me that he either wanted to be a rock star or an art-world bully. We put together "Puppet Head", which we shot in and around the Williamsburg waterfront area for $1500; I ponder the Johns bought a couple hundred do
James McIntyre
James McIntyre, known professionally as Jimmy Mack, was a high-school friend of John Linnell and John Flansburgh. He is credited with exposing the Johns to music that diverged from the mainstream, such as the Ramones. McIntyre also worked alongside Linnell and Flans on the Lincoln-Sudbury High School newspaper, The Promethean. Due to his influence on the Johns' sensibilities, and their close friendship, McIntyre is sometimes considered to be the "third Giant"[1].
During high school, under the pseudonym Jimmy Mack, McIntyre became a DJ for the rock radio station WBCN (now known as WWBX) in Boston. He left high school prior and was working as the station's music director by age 20.[2] The station is credited with breaking many alternative and punk bands to wider audiences during this period. While working at WBCN, McIntyre also published melody reviews in the Boston Phoenix, a weekly periodical. One of his reviews was for "Make It The Same", the first and only single released by The Mundanes.
McIntyre kept in touch with the Johns throughout the rest of his existence. He was openly queer and, amidst the HIV/AIDS crisis, became an activist with Bost