Called the "underside of the American dream" and "an American nightmare," the Hell's Angels have been fixtures in American culture since 1948. Yet their role remains unclear: are they libertines or criminals? The History Channel investigates the evolution of these mythic outlaws, featuring rare interviews with historians and experts - including Hunter S. Thompson - and the Angels themselves. Discover the origins of biking clubs in the '40s and see how The Wild One defined the rebels of the '50s. Witness the infamous Gypsy Tour of the '60s and the international proliferation of Hell's Angels in the '70s. Hear about their influence on pop-culture and their surprising sense of patriotism. Trace the legendary leadership of Sonny Barger, who transformed the club into a brotherhood. Hell's Angels offers an insider glimpse into the world of mythic renegades, rebels, and bikers who have eluded categorization for the past half-century.
Brash, melodic, and imbued with a more-than-healthy sense of British rock tradition, the Fratellis and their debut album, Costello Music, come across almost like a caricature of bands like the Libertines, Dirty Pretty Things, and Arctic Monkeys – but at least it's a flattering one. The Fratellis take themselves a lot less seriously than some of the other laddish bands popular in the U.K. in the late 2000s, and emphasize hooks and fun rather than samey-sounding rock. Songs like "Baby Fratelli" and "The Gutterati" have a singalong simplicity, and it feels like the band puts as many "la la la"s and "ba da ba"s into each song as they can – and then try to cram in a few more. Costello Music's best tracks go even farther with the band's fun-only agenda; it's easy to hear why "Flathead" – which switches between grinding, aggressive verses and a downright giddy chorus with more of those "ba da bop a dah" hooks – was picked to soundtrack a fittingly day-glo, kinetic iPod TV commercial. The outstanding single "Chelsea Dagger" is just as vibrant, a swaggering glam rock nugget with pints-aloft choruses. "Henrietta"'s loopy catchiness owes a debt to vaudeville or musical comedy, and not just because Jon Fratelli sings "wa wa wa waaaahhh" along with the guitar solo; "For the Girl," meanwhile, has a melody so strong, it could've been a hit anytime between the '60s and the '90s.