Most Popular
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To Hug a Porcupine
Three little boys set out to destroy the parents who loved them. This isn't how adoption is supposed to work.
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Sexual Healing
Sad stories and otherwise freaky tales from Florida's last sexual surrogate
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Cookie Monsters
It's the old diet doc versus the marketing gun in the great war of the tasty appetite suppressors
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Smoked Tuna in the Can
He was the first big bust of the War on Drugs. That and two bits won't get you a cup of coffee.
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Shark Huggers
Tourists can't wait to get next to them – even if they are eating machines
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Recent Articles
Recent Articles by Richard Gintowt
National Features >
Broward-Palm Beach New Times
For Florida's sole remaining sex surrogate, love is a many splintered thing.
By Michael J. Mooney
City Pages
It's not just giant companies cashing in on America's defense industry.
By Jeff Severns Guntzel
The Pitch
How a throwaway idea at the Barkley ad agency became the "Sonic Guys."
By Justin Kendall
Houston Press
A diner's guide to Texas's oldest Mexican restaurants.
By Robb Walsh
The Wilders
Published on April 24, 2008
For a red-hot decade, Kansas City's the Wilders have been walking the line between pleasing the folk-festival contingent and the teamsters who warm the bar stools at local honky-tonks. Having already put their own righteous spin on traditional numbers, the next logical step for the quartet was to develop its own songbook. Someone's Got to Pay is the result of that paradigm shift: a collection of honky-tonk, bluegrass, Cajun, and fiddle originals that broaden the group's vast repertoire (save one fiddle number). The breadth of ground covered on the 20-song LP would be jarring if it weren't so immaculately sewn together; a four-part series of solo piano numbers and a five-part murder ballad are spread across the disc. The best songs — "Sorry I Let You Down" and "Goodbye (I've Seen It All)" — are the ones that break the farthest from the Wilders' old formula. Bob Dylan started out as a cover act, too, you know.