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To commemorate the launch of our “Actual Worst” feature, a bracketed competition to find “the most terrible character in television,” here’s the song from Badfinger that closed out the final episode of Breaking Bad upon the death (or dream?) of Walter White:

A reader makes a predication for our contest:

Calling it now for Joffrey Baratheon. He’s the only one here who A) transcends his own show (by which I mean, people who have never seen or read A Game of Thrones still have a strong idea of what his character represents), and B) is culturally emblematic of pure evil in a way the one other really transcendent character on this list (Walter White) isn’t.

It’s first going to come down to the names people recognize the most. From those, it's then going to come down to which one is most widely understood as a horrible, evil person. (Other interpretations of “worst,” such as those one might use to describe Pete Campbell or Jeremy Jamm, aren’t as viscerally thrilling and will not carry the same weight. Even severely flawed antiheroes like Walter White and Frank Underwood can’t quite muster as strong a response as someone unilaterally presented as evil.) I’d throw Hannibal into the mix if his character hadn’t already been done to death over the last 20 years, but as it stands, even with a new show, he won't invite the same level of excitement as his fresher peers.

Another reader thinks a key character is missing:

Eric Cartman from South Park. I could write a 30-page thesis on Cartman being the worst person ever on television and I’ve had this discussion in the past. Completely invalidates the list.

Tricking a teenager into eating his parents is pretty hard to beat. IMDb has 14 more evil moments from Cartman.

Because it’s one of my favorite music videos of the past few years, and a song that sticks with you well past the fading of the calypso drums:

If you’re not familiar with The Knife:

They were a Swedish electronic music duo from Gothenburg formed in 1999. The group consisted of siblings Karin Dreijer Andersson and Olof Dreijer, who together also run their own record company, Rabid Records. The group gained a large international following in response to their 2003 album Deep Cuts.

My good friend, who’s a bluegrass musician, recommends this song from Tim O’Brien’s brand new album:

Pompadour swirls together bits of bluegrass, deep-roots Appalachian music, field hollers, old-school rock 'n' roll to traditional jazz and even James Brownian funk. The same applies to the perspectives from which O’Brien addresses the central theme. The spare lyrics of “I Gotta Move” and use of everyday images on “I'm A Mess For You” imply rather than spell out a story of loss and redemption. A steady-rockin' groove drives the classic trope of asking a doctor for a cure to heartache on “Give Me A Little Somethin’ Take Her Off My Mind.”

Have a track to recommend for the daily feature? Drop me an email.

A reader passes along a Halloween ditty you’ve probably never heard, from the Five Jones Boys. There isn’t much known about the group at this point:

[E]verything you hear on this [1937] recording is performed by a group member using only their voice. Apparently they did use a guitar sometimes, but I can’t hear one in this recording. That is all I can tell you about them and pretty much all the information that exists online. Sorry, The Five Jones Boys have been largely forgotten, but have a listen, you won’t be disappointed.

Have a track to recommend for the daily feature? Drop me an email.

From a list of “the 15 best Halloween songs that aren’t ‘Thriller’”:

Structurally reminiscent of the lunar cycle, Ocean Rain’s most beloved track is melodically dark, evocative of ritual acts and (yes) moonlight. The track, paired with the cultlike imagery of its accompanying music video, leaves listeners transfixed by the fictive vision of one of the postpunk outfit’s most successful singles. Reportedly inspired by Bowie’s “Space Oddity” in reverse, “Killing Moon” is difficult to shake, though it’s also the sort of song you could listen to for hours on end without growing tired of its lush chords or Ian McCulloch’s mesmerizing cadence.

Have a favorite Halloween track for tomorrow? Drop me an email.

Why did the story of a runaway unmanned blimp capture so much attention this afternoon?  For most people, blimps are strange, unusual phenomenon, seen only hovering above sporting events.

But in Akron, Ohio, where Goodyear has been making airships since the early 20th century, blimps are almost normal. On any given day, you might hear a strange buzzing over your head, look up, and see the Goodyear blimp drifting lazily overhead. It’s the kind of city where people at bars talk idly about starting blimp airlines. And for a city that’s often a punchline for jokes, the blimp is also a source of pride. CD Truth, a stalwart Rubber City punk bank, eloquently captured the way Akronites feel in the 1998 song “We Got the Blimp”:

You think your town is cool
’Cause you got all the good schools
Well, we got the blimp!

You think your city’s better, just because you get art
Maybe a Picasso
We got the blimp!

Nowadays, Goodyear’s Akron-based Wingfoot 1 isn’t actually a blimp—it’s a semi-rigid airship. The very good Akron Art Museum actually has a Picasso, too. I bet your city doesn’t have all that.

A reader says of this new song from Wild Child: “Low-key instrumentals and a beautiful voice are all this song needs to get stuck in my head non-stop.” A bit about the band:

Wild Child is an American indie pop band from Austin, Texas. They were named by the Austin Chronicle as the Best Indie Band and Best Folk Band in Austin at the 2013 South by Southwest (SXSW) music festival. In 2014, the band was again named Best Indie Band.

On their new album, Fools, from Vice’s Noisey blog:

The album, written from a literal in between place as vocalist Kelsey split from her fiance of five years and at the same time watched her parents divorce, will make you feel peaceful about whatever is ending in your life right now. ... If you’re a fan of Ingrid Michaelson or Regina Spektor, you’re a fan of Wild Child.

If you have a track you recently love, drop me an email.

A reader offers a “song about depression and death” by the Drones. Who are The Drones?

They’re an Australian band that rose to prominence in their country when in 2005 their album, Wait Long by the River and the Bodies of Your Enemies Will Float By, won the inaugural Australian Music Prize. The band consists of vocalist/guitarist Gareth Liddiard, bassist Fiona Kitschin, lead guitarist Dan Luscombe, keyboardist Steve Hesketh and drummer Christian Strybosch. … In a poll of contemporary Australian songwriters in 2009, organised by national youth broadcaster Triple J, "Shark Fin Blues" was voted as the greatest Australian song.

The reader adds, “Gareth’s brutal and distinctive voice still somehow conveys a melancholy familiar to most.” Drop me an email if you have your own track to recommend.

A reader points to a late summer release from Boy & Bear:

This band sounds so familiar, but in a way I can’t place at all. Every time I listen to this song I think that it sounds EXACTLY like some other band I’ve listened to ... but then I can’t figure out what that other band is. Maybe a little bit of Dire Straits? A little bit of Noah and the Whale? Whatever it is though, I’m into it.

It’s off their newest album:

[T]he third Boy & Bear album will be titled Limit of Love—due for release Friday 9 October—and aimed to shake up their traditional methods while working with Ethan Johns, a British producer who's worked with Kings of Leon, Kaiser Chiefs, Laura Marling, and Ryan Adams. […] Lead single ‘Walk The Wire’ marks a fitting introduction to the shift in attitude and sound. Gone are the sweeping folk rock and Americana of ‘Southern Sun’ and ‘Feeding Line’ and in its place is a synth-squiggled shuffle of wiry guitars and an exposed vocal delivery from Dave Hosking.

Drop me an email if you have a track to recommend.

She’s back.

It’s the first new music in three years from Adele, taken from her upcoming album, 25. And it’s well, Adele-ish, opening with mournful piano chords and fragments of a phone call to a long-lost lover.

Hello
It’s me
I was wondering if after all these years you’d like to meet.

Adele’s last track was the James Bond theme “Skyfall” in 2012; her awards-sweeping second album, 21, came out the year before, and has since become the biggest-selling record of the 21st century in her native Britain. After taking such an extended hiatus from making new music, anticipation for 25 has been predictably high. Will it feature more than languorous, plaintive, sepia-toned, emotional outpourings for a former paramour? Probably not, judging by “Hello.” Will it matter? Not a bit.

A reader calls this newish song from Børns “dream-pop at its finest.” Spin’s Brennan Carley calls it “a twinkling, gorgeous soliloquy”:

When the Cali-based singer spoke to SPIN about the record earlier this summer, he promised there’d be no masking how he really felt. “It’s hard to fake that,” he says. “When you listen to music, you can tell if it’s a real love song or not. I’m hoping that honesty will translate.”

Have track to recommend? Drop me an email.

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