tag:blogger.com,1999:blog-10981355622381270542024-03-13T22:40:04.958-04:00CRIMES AGAINST MUSICUnknownnoreply@blogger.comBlogger929125tag:blogger.com,1999:blog-1098135562238127054.post-45882117648130049942012-04-15T12:34:00.004-04:002012-04-15T12:47:44.040-04:00To rock, to roll, to sing the muse<p>Here is the poem that Donovan read at his <a href="http://www.nytimes.com/2012/04/16/arts/music/rock-and-roll-hall-of-fame-inducts-guns-n-roses-beastie-boys-and-red-hot-chili-peppers.html?ref=arts">Rock and Roll Hall of Fame induction</a>, on Saturday night in Cleveland. He said it "came to me" when he learned that he had "finally" been inducted (although he has used at least part of it <a href="http://www.clashmusic.com/feature/swan-song-donovan">before</a>).</p><blockquote><span style="font-style:italic;">From my wandering days on lonely sands<br />When I sang my song to the moon and stars<br />To the world's great stage<br />Honored am I to sing my song to a million fans.<br />Always my wish to be of service<br />To ease emotion deep in the heart.<br />Always your poet, a shaman am I<br />To leaders or to the realm within<br />But I was branded for my beauty, yet protected by my art<br />Many plundered me for booty, but only one did steal my heart<br />How she keeps it in her casket still remains a mystery<br />Like the moonrise in a sunset, like the silence of the sea<br />I thank you for this bright green laurel resting now upon my brow<br />I thank you, goddess, and thank you, muses<br />And I thank my fellow artists all.</span></blockquote>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1098135562238127054.post-13738390101414715292012-02-05T19:00:00.000-05:002012-02-05T19:01:30.361-05:00Hakone, Japan<center><iframe width="640" height="360" src="http://www.youtube.com/embed/Ur1Zy2M-VbI?rel=0" frameborder="0" allowfullscreen></iframe></center>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1098135562238127054.post-13560659573519254442011-12-28T16:27:00.006-05:002011-12-28T16:38:06.599-05:00Talking 2011 on WFUV<a href="http://wfuv.org/"><img style="margin: 0pt 0px 20px 35pt; float: right;" src="http://i136.photobucket.com/albums/q168/sisario/misc%20used%20blog%20pix/1150_WFUV.jpg" alt="Photobucket" border="0" /></a><p>As part of my critic rotation duties on the <a href="http://www.wfuv.org/music/musicreview">WFUV Music Review</a> — after doing it every week for a few years, I now alternate with Anthony DeCurtis and Josh Baron — I went on the air the other day to talk about three of my <a href="http://charmicarmicat.blogspot.com/2011/12/my-best-of-2011.html">favorites from 2011</a>: Tinariwen’s “Tassili,” Laura Marling’s “A Creature I Don’t Know,” and James Blake’s self-titled debut. <br /><br />As always, I had fun with <a href="http://www.wfuv.org/about/claudia-marshall">Claudia</a>, but unfortunately they (she?) edited out all her wisecracks to get the thing down to the five allotted minutes. I could have blabbed on for so much longer.<br /><br />You can listen to it <a href="http://itunes.apple.com/us/podcast/ben-best-of-2011/id168241374?i=88190957">here</a>, and subscribe to the Music Review <a href="http://itunes.apple.com/us/podcast/wfuvs-music-review/id168241374">here</a>.<br /><br />Some recent reviews: <a href="http://itunes.apple.com/us/podcast/every-steps-a-yes-band-of-bees/id168241374?i=88190957">Band of Bees</a>, <a href="http://itunes.apple.com/us/podcast/humor-risk-cass-mccombs/id168241374?i=88190957">Cass McCombs</a>, <a href="http://itunes.apple.com/us/podcast/mockingbird-time-jayhawks/id168241374?i=88190957">Jayhawks</a>, <a href="http://itunes.apple.com/us/podcast/rip-tide-beirut/id168241374?i=88190957">Beirut</a>, <a href="http://itunes.apple.com/us/podcast/glen-campbell-ghost-on-a-canvas/id168241374?i=88190957">Glen Campbell</a>.</p>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-1098135562238127054.post-27984728418174610862011-12-21T07:46:00.003-05:002011-12-21T07:54:58.217-05:00Who I buried in 2011<img style="margin: 0pt 0px 20px 35pt; float: right; width: 195px; height: 195px;" src="http://i136.photobucket.com/albums/q168/sisario/misc%20used%20blog%20pix/Gravestone.jpg" alt="Photobucket" border="0" /><ul><li><a href="http://www.nytimes.com/2011/01/19/arts/music/19kirshner.html">Don Kirshner</a>, Brill Building-era music publisher, TV host</li><li><a href="http://www.nytimes.com/2011/04/18/arts/music/roger-nichols-artist-among-sound-engineers-dies-at-66.html">Roger Nichols</a>, sound engineer for Steely Dan</li><li><a href="http://www.nytimes.com/2011/05/29/arts/music/gil-scott-heron-voice-of-black-culture-dies-at-62.html">Gil Scott-Heron</a></li><li><a href="http://www.nytimes.com/2011/06/19/arts/music/clarence-clemons-e-street-band-saxophonist-dies-at-69.html">Clarence Clemons</a></li><li><a href="http://www.nytimes.com/2011/07/24/arts/music/amy-winehouse-british-soul-singer-dies-at-27.html">Amy Winehouse</a></li><li><a href="http://www.nytimes.com/2011/08/23/arts/music/nick-ashford-of-motown-writing-duo-dies-at-70.html">Nick Ashford</a></li><li><a href="http://www.nytimes.com/2011/08/25/arts/music/frank-dileo-michael-jacksons-manager-dies-at-63.html">Frank Dileo</a>, Michael Jackson’s manager</li><li><a href="http://www.nytimes.com/2011/11/26/arts/music/jimmy-norman-singer-who-worked-with-marley-and-hendrix-dies-at-74.html">Jimmy Norman</a>, songwriter who fought for credit on “Time Is on My Side”</li></ul>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1098135562238127054.post-62921013886869703262011-12-19T13:59:00.015-05:002011-12-20T18:08:23.261-05:00My best of 2011<p>Top 10:</p><blockquote>1. <span style="font-weight:bold;"><a href="http://itunes.apple.com/us/podcast/humor-risk-cass-mccombs/id168241374?i=88190957">Cass McCombs</a>, <span style="font-style:italic;">Wit’s End</span></span> (Domino)<img style="margin: 0pt 0px 20px 35pt; float: right; width: 195px; height: 195px;" src="http://i136.photobucket.com/albums/q168/sisario/cover-homepage_large.jpg" alt="Photobucket" border="0" /><br />2. <span style="font-weight:bold;"><span style="font-style:italic;">James Blake</span></span> (A&M/Atlas)<br />3. <span style="font-weight:bold;">PJ Harvey, <span style="font-style:italic;">Let England Shake</span></span> (Vagrant)<br />4. <span style="font-weight:bold;"><a href="http://www.nytimes.com/2011/04/17/arts/music/eddie-vedder-amanda-palmer-and-magnetic-fields-join-ukulele-craze.html">Tune-Yards</a>, <span style="font-style:italic;"> Whokill</span></span> (4AD)<br />5. <span style="font-weight:bold;">Laura Marling, <span style="font-style:italic;">A Creature I Don’t Know</span></span> (Domino)<br />6. <span style="font-weight:bold;">Wye Oak, <span style="font-style:italic;">Civilian</span></span> (Merge)<br />7. <span style="font-weight:bold;"><a href="http://www.nytimes.com/2011/09/01/arts/music/tinariwens-tassili-desert-blues-recorded-on-site.html">Tinariwen</a>, <span style="font-style:italic;">Tassili</span></span> (Anti-)<br />8. <span style="font-weight:bold;">Low, <span style="font-style:italic;">C’Mon</span></span> (Sub Pop)<br />9. <span style="font-weight:bold;"><a href="http://itunes.apple.com/us/podcast/rip-tide-beirut/id168241374?i=88190957">Beirut, <span style="font-style:italic;">The Rip Tide</a></span></span> (Pompeii)<br />10. <span style="font-weight:bold;"><a href="http://www.nytimes.com/2011/10/18/arts/music/in-one-pig-matthew-herbert-finds-music-in-a-pig.html">Matthew Herbert, <span style="font-style:italic;">One Pig</a></span></span> (Accidental)</blockquote><p>Also good (in alphabetical order):</p><blockquote>Adele, <i>21</i> (XL/Columbia)<br /><a href="http://itunes.apple.com/us/podcast/101-keren-ann/id168241374?i=88190957">Keren Ann, <i>101</i></a> (Blue Note)<br />Antlers, <span style="font-style:italic;">Burst Apart</span> (Frenchkiss)<br />Alison Krauss & Union Station, <span style="font-style:italic;">Paper Airplane</span> (Rounder)<br />Bon Iver, <span style="font-style:italic;">Bon Iver</span> (Jagjaguwar)<br />The Civil Wars, <i>Barton Hollow</i> (Sensibility)<br /><a href="http://itunes.apple.com/us/podcast/jolie-holland-and-the-grand-chandeliers-pint-of-blood/id168241374?i=88190957">Jolie Holland and the Grand Chandeliers, <i>Pint of Blood</i></a> (Anti-)<br /><a href="http://www.nytimes.com/2011/11/23/arts/music/jeffrey-lewis-singer-and-illustrator.html">Jeffrey Lewis, <span style="font-style:italic;">A Turn in the Dream-Songs</span></a> (Rough Trade)<br />Nick Lowe, <span style="font-style:italic;">The Old Magic</span> (Yep Roc)<br />My Morning Jacket, <i>Circuital</i> (ATO)<br /><a href="http://www.nytimes.com/2011/10/30/arts/music/lou-reed-and-metallica-team-up-on-lulu.html?pagewanted=all">Lou Reed and Metallica, <span style="font-style:italic;">Lulu</span></a> (Warner Bros.)<br />St. Vincent, <span style="font-style:italic;">Strange Mercy</span> (4AD)<br />Washed Out, <span style="font-style:italic;">Within and Without</span> (Sub Pop)<br /><a href="http://www.relix.com/relix/issues/2011/09/28/october-november">Wilco, <span style="font-style:italic;">The Whole Love</span></a> (dBpm)<br /><span style="font-style:italic;">Yuck</span> (Fat Possum)</blockquote>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1098135562238127054.post-56434790779692927992011-10-07T13:09:00.010-04:002011-11-01T08:32:53.404-04:00You're still someone if Steve Jobs never called you at 3 a.m.<img style="margin: 0pt 0px 20px 35pt; float: right; width: 195px; height: 195px;" src="http://i136.photobucket.com/albums/q168/sisario/misc%20used%20blog%20pix/Gravestone.jpg" alt="Photobucket" border="0" /><p><i>I was just sitting at home late one night, counting my money, when the phone rang. "It's Steve. That column you wrote was a piece of crap. Here are my ideas for the next iPod, iPad, manned space station and cure for AIDS. I am telling you all of this because this is what I do. I'm Steve Jobs, and I reveal myself in mysterious ways, especially when I confide in you. Now here is my plan for conquering Hollywood."</i><br /><br />That never happened to me, of course. Like millions of others, my closest contact with Steve Jobs was in watching Apple's carefully choreographed video feeds, and through reading his endearingly curt, deus ex machina messages to customers on <a href="http://www.emailsfromstevejobs.com/">emailsfromstevejobs.com</a>. ("Yep." "Nope.")<br /><br />But in all the coverage of Jobs's death — a <a href="http://mediadecoder.blogs.nytimes.com/2011/10/05/he-pushed-a-reluctant-industry-toward-digital-music/">couple</a> <a href="http://www.nytimes.com/2011/10/07/business/media/master-of-the-media-marketplace-and-its-demanding-gatekeeper.html?ref=media">pieces</a> of which I have been responsible for — you get the sense that everybody else in business or journalism had some kind of special lifeline to the great man, randomly accessed but always deeply meaningful. Writers of all kinds recalled Jobs phoning at odd hours with specific reactions to their pieces, underscoring the significance of their work. <a href="http://allthingsd.com/20111007/jon-stewart-stephen-colbert-say-goodbye-to-steve-jobs/">TV personalities</a> dangled meaningless connections. Business leaders beamed about the abuse and cajoling they regularly got from him; like groupies recounting their encounters years later, they always eagerly gave in.<br /><br />Many of these connections were surely real. Jobs did of course have a habit of calling some key journalists, like <a href="hthttp://www.blogger.com/img/blank.giftp://allthingsd.com/20111005/the-steve-jobs-i-knew/">Walt Mossberg</a>. But make no mistake: there are very, very few Walt Mossbergs out there. It reminds me of something my esteemed former colleague Bernard Holland once wrote about the many spurious claims of familiarity after the death of <a href="http://www.nytimes.com/2007/11/24/arts/music/24goul.html?ref=glenngould">Glenn Gould</a>, another famously private and irascible personality:</p><blockquote><i>In death, Gould came to life. Music business operatives appeared suddenly and in hordes, claiming hitherto unnoticed intimacy with the great man and eager to share their experiences in articles, interviews and books. It was amazing how many had known Gould so well, spent so many hours exchanging deep thoughts during marathon middle-of-the-night phone calls to area code 416.</i></blockquote><p>So take those stories of late-night calls from Jobs with a grain of salt.</p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1098135562238127054.post-25475453889392004732011-07-04T21:13:00.014-04:002013-04-22T13:07:56.275-04:00A conversation with Brian Eno<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-style: italic;">I had the great privilege of interviewing <a href="http://www.nytimes.com/2011/07/05/arts/music/brian-eno-and-rick-holland-release-drum-between-the-bells.html?ref=music">Brian Eno</a> about his new album, <a href="http://www.wired.com/underwire/2011/07/brian-eno-drums-between-the-bells/">“Drums Between the Bells.”</a> He’s one of the gods that I can now cross off the list, and he was a completely kind, charming athlete of brilliance. I was terrified that I would wind up coming across like <a href="http://www.youtube.com/watch?v=jNBIyGxV7Ek">Chris Farley</a>, but I think I did OK.<br /><br />It’s always frustrating, though, how few of those kind, charming, brilliant words actually make it into a newspaper article, so here is a more thorough transcription. This is still not complete; it was just too long. But I think you get the idea.</span><br />
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<span style="font-style: italic;">How did “Drums Between the Bells” and your collaboration with Rick Holland come together?</span><br /><br />I started working with words against music, rather than songs, quite a few years ago. Even in the ’70s I did a few early things where I was using spoken word rather than sung word. I became more interested in that direction as time went on. And I think it’s because I’ve spent a lot of time trying to look toward alternatives to conventional song structures. So if you think of “My Life in the Bush of Ghosts,” that was a sort of an alternative to ordinary songwriting in that it deliberately used voices that weren’t ever intended to be part of that song. So that collage thing was one of the ways I thought of getting away from ordinary songwriting.<br /><br />You may be thinking, “Why did he want to get away from ordinary song structures?” Well, the reason was because I was thoroughly bored with them. The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular: <span style="font-style: italic;">[singing]</span> “I am this, I think this, and you do this, and you are this...” I was so bored with the idea of the whole song being based around some individual’s narrative. So I started working on ways to try to get rid of the idea that the voice <span style="font-style: italic;">in</span> the song was the voice <span style="font-style: italic;">of</span> the song — that was the center of the meaning of the song It’s a little bit like when people started melting figures into landscapes, so that you stop looking at a picture of a person against a background and started looking at a picture of a whole field of things, which happened to include a person.<br /><br />I experimented many times with the idea of seeing what happens if you stick a spoken voice against a piece of music. And now, because it’s 2011, I was able to do a little bit more than that. I could choose exactly where the words fell and I could move them around and stretch them a little bit or change their pitch, or do all sorts of other things with them. So what I wanted to end up with was something that occupied a slightly different part of the spectrum between speech and song. So it wasn’t just speech and wasn’t just song, but it was some new hybrid in between.<br /><br /><span style="font-style: italic;">Why Rick?</span><br /><br />About eight or nine years ago I was thinking about this project, and in fact I had written quite a few poems of my own and tried this approach with them. I liked the approach but I wasn’t that keen on the poems, so I thought, “I need a poet!” I went to this event one evening, and there was this young man, Rick Holland, reading a couple of his poems, and they struck me as just the right kind of poems. They were short, which is important because I didn’t want the language to dominate the scene; I didn’t want a continual, wall-to-wall voice going though. And I wanted poems that were fairly unspecific in their language. Again, I didn’t want the whole thing to necessarily center around the voice any more than I’ve ever wanted it to do in anything else.<br /><br /><span style="font-style: italic;">Some of the voices on the album reminded me of the robotic voices on GPS machines, where it’s often a female voice, which is often considered friendlier, giving help to a person using it. Did any of that enter into your mind, the character of the voices or what a voice type would imply about the kind of person?</span><br /><br />One of the things that I kept listening to, and I’m always been fascinated by, are those automated announcements you get at railway stations. <span style="font-style: italic;">[Robotic voice:]</span> “The — 5-4-3 train — from — platform 5 — is ...” Where it’s obviously all electronically collaged together from different recordings that weren’t made consecutively. And I think, “Ooh, that’s really nice. That’s a new way of voices sounding.” So I was quite consciously artificializing some of the recordings, and in fact almost the only instruction I gave the readers was, “Can you read it more slowly? Can you separate the words more?” Because I wanted it to feel that each word was individually pasted in, even though most of these poems were actually read consecutively.<br /><br /><span style="font-style: italic;">Did you imagine it sounding strange or emotionally disconcerting to hear a voice like that?</span><br /><br />I think what it does is it separates the voice from the kinds of emotions you might normally associate with it, so it becomes more emotionally ambiguous; it means there’s more interpretive space given the listener. Obviously, since it’s a voice we respond to it, just as any circle with two small circles and a curve inside it is going to look like face. We don’t have to have much information as listeners to make us interested in what a voice is doing and saying; we already are interested, just like we’re interested in faces. So I think what I was doing was playing on the fact that people have an inclination and a taste toward voices, and toward trying to interpret what they do, and seeing how far I could stretch them from being normal voices and still...<br /><br />Sorry, I’m trying to switch a light on as I’m talking...<br /><br /><span style="font-style: italic;">So can I ask you how many Brian Enos it takes to screw in a light bulb?</span><br /><br /><span style="font-style: italic;">[Laughs.]</span> In this case I only have one, and he’s failing... There, I’ve done it now. I’ve succeeded, so the answer is one.<br /><br /><span style="font-style: italic;">Getting back to traditional versus nontraditional songwriting, did you even think of the words here as being lyrics that you set to music, or as a different kind of material?</span><br /><br />I don’t think of them as being set to music. I like to think about them the same way as I like to think about film music, when I’m occasionally asked to do it, which is as a separate and parallel reality. I can’t bear Hollywood film music, because it seems to me it does the most pedestrian and obvious thing: it locates a single emotion in the film and then does its best to exaggerate that. It’s exactly the opposite of what I want from film music. I want film music to expand the film, to make it broader and vaguer in terms of its emotional implications. I don’t want to be told when someone’s crying that they’re sad, by some twit playing strings in the background, which is always the Hollywood resort. <span style="font-style: italic;">[American accent:]</span> “Oh, this is a sad scene, let’s make him <span style="font-style: italic;">really</span> sad.” And I think, “Don’t be so stupid!”<br /><br /><span style="font-style: italic;">A lot of music is called experimental even if the audience already knows what it’s going to be like, and there is no actual experiment happening, for instance in idioms like free jazz or noisy electronica. Do you have to fight against doing something that is “experimental,” versus doing something where you don’t know what’s going to happen?</span><br /><br />I don’t feel it’s a fight. I sort of take that as my brief that I’m always so thrilled when I find myself somewhere I haven’t been before. In my normal life I’m a very unadventurous person. I take the same walk every day and I eat in the same restaurants, and often eat exactly the same things in the same restaurants. I don’t adventure much except when I’m in the studio, and then I only want to adventure. I cannot bear doing something again, or thinking that I’m doing something again. Of course, like anybody I repeat myself endlessly, but I don’t know that I’m doing it, usually. <span style="font-style: italic;">[Laughs.]</span> So when I’m in the studio what I really want to do is to find myself somewhere that I don’t recognize, and then try to see what’s there and what I can do and how I can get back, and whether I can successfully turn it into a useful experience of some kind. And I guess all of that is what is called experimental music, really.<br /><br />I think of it as cowboys and farmers. Like in “Oklahoma!": <a href="http://www.youtube.com/watch?v=9WUHlqmD7jM" target="_blank">“Oh, the farmer and the cowman should be friends.”</a> So I think of cowboys as people who go out and look for new territory; prospectors, perhaps that’s the word I should use. And they use the territory for a little bit and then they move on to find new ones. Then there are other people, who have an equally important role to play — who for the sake of this metaphor are called farmers — who exploit the territory and look after it and nurture it and get slightly better results each year, and so on. So that’s another kind of temperament: craftsmanlike. I’m not really of that temperament. I like the thrill of putting two things together that nobody ever thought of putting together before. Or like a chef who uses some daring new combination of ingredients, black currants and sausages or something. That’s my thrill.<br /><br /><span style="font-style: italic;">Is that in any way a reaction to your work as a producer, working with other people in a studio, where you might have to do the same thing over and over again, trying to get to a very specific result?</span><br /><br />I don’t do that kind of producing. I don’t sit in the studio watching every overdub. I’m just not interested. I’m no good at that, actually. That’s a different kind of skill. What I do is, I walk in every so often and I listen and I say, “That piece fails in the middle. This piece is very exciting but it’s hasn’t realized its potential. This only has one good idea, and it’s that little flick in the drums at this point, and we should just start a new piece from that.” I tend to not talk on the detail level so much, but just have the benefit of not having been there during the nuts and bolts of the process. So I can walk in without any sentimentality and say, “I don’t think the guitar is working,” even though the guitar took two and a half weeks to record.<br /><br /><span style="font-style: italic;">On the album, a lot of the lyrics — for lack of a better word there — kind of sound like artistic manifestos: “Pour it out in new ways,” “Invent new colors that fly,” that sort of thing. Was that the intention, instructions or a pep talk for artists? “Do something new”?</span><br /><br />That’s a very good idea but it wasn’t the intention. No, I think that’s just in the nature of Rick’s poems. Something I’ve realized lately, to my shock, actually, is that I am an optimist, in that I think humans are really almost infinitely capable of self-change and self-modification, and that we really can build the future that we want if we’re smart about it.<br /><br />I used to be much more pessimistic than I am in the way that most of us are quite pessimistic, civilizationally, don’t you think? Most people think, “Things are getting really bad, and it’s getting worse, and things are never going to be as good as they were X years ago.” So lately I’ve started to think that that is a bad civilizational habit that we’ve inherited. And it goes back a long way, right back to the Greeks. There were people saying exactly the same thing: things can only get worse, it’s going to get really bad, the whole place is falling apart. So I’ve stopped believing that, and I’ve started to think, “No, actually, the whole place is not falling apart. The whole place is consolidating, and getting better and better.”<br /><br />I’ve been particularly influenced in this by few friends, Stewart Brand and Danny Hillis, both from the Long Now Foundation. Also by a couple British writers: Matt Ridley, who wrote a book called “The Rational Optimist,” half of which I think is a brilliant book, the other half I don’t quite agree with. <span style="font-style: italic;">[Laughs.]</span> Matt’s point is that cultures have always been pessimistic because it’s very easy to extrapolate the bad news, as Thomas Malthus did, saying, “Oh look, population is rising exponentially but agricultural production isn’t increasing exponentially.” So, crisis looming, as Malthus thought. But what Malthus didn’t see was that there were going to be a series of agricultural revolutions. And of course he couldn’t see that; those were creative breakthroughs that nobody was in a position to anticipate. So the reason we have this cultural pessimism is because we tend to extend these trends into the future and think, “Oh dear, that looks bad.” But we don’t offset them with the possibility of the incredible creative power that the collective mind that we’re becoming has.<br /><br />Matt Ridley used this term “collective mind,” and in fact that’s what we’re becoming bit by bit. We’re all becoming increasingly helpless as individuals. You and I — well, unless you’re quite a different man than I imagine you are — you and I would be dead within days if we had to fend entirely for ourselves. We’re part of this huge, rich network of human intelligence that keeps us all alive. In fact Matt Ridley has a beautiful illustration of this at the beginning of his book: he has a stone-age hand axe and a computer mouse. The point he makes is very simply that the hand axe was made by one person, but the computer mouse was made by millions of people. It’s impossible to know how many people were involved in the making of it, because the oil that made the plastic had to be discovered and mined and refined, and then turned into plastic, and then that had to be molded and shaped; somebody had to invent the computers, and so on. Every single object we use — this phone I’m holding now — is the result of this huge collective intelligence that we’re evolving.<br /><br />A English writer called David Deutsch, he’s a physicist, has a new book called “The Beginning of Infinity,” and he has written chapter called “Optimism,” and it is so completely thrilling for me. I keep going back and reading it again, because suddenly I think, “Oh my gosh, the human race could not only save itself and save the planet, but really there’s no limit to what we can do.”<br /><br />Anyway, all of this is a long diversion in answer to your question about were we writing a manifesto. I think Rick, like me, is an optimist. He has a kind view of humans. He thinks that we’re not doing a bad job, and we could do a better one, and we will do a better one. And so I think that that sort of suffuses what both of us does. There’s a sort of optimism in what we’re doing. Christ, that was the longest and most roundabout answer to your question, I’m sorry.<br /><br /><span style="font-style: italic;">No, you just gave me about three books to read, so I appreciate it!<br /><br />The collective hive mind idea, is that what you’re thinking about when you mention Spotify, and the fact that digital music lets us churn through decades and decades of music like we never have before?</span><br /><br />Yes. The only problem with phrase “the hive mind” is that it gives you the impression of interchangeable units, of cells that are really quite irrelevant to each other, that don’t matter. But in fact what humans are doing is really a very different sort of experiment. This collective mind is actually filled with specialists, people who increasingly are becoming good at unique things, in the sense that you’re a specialist writer, I’m a specialist musician. Probably nobody’s going to replace me exactly. I don’t mean I’m irreplaceable. <span style="font-style: italic;">[Laughs.]</span> But nobody else is going to do exactly what I do and nobody else is going to do exactly what you do. So it’s not really a hive in the sense of being filled with Orwellian drones. It’s a different kind of hive. It’s a hive full of singular intelligences.<br /><br />I read something very interesting recently, which is that in last 40,000 years the human brain has deceased in size by about 10 percent. I think that’s because we’re all becoming better specialists, and we don’t need to be generalists in the same way. You don’t have to know how to find meat or to cook bread or to plant this or to chop that. You don’t have to know that because you know other people who know how to do it. What you have to know is what you do, and you have to be good at that. So I think we’re actually turning into a different kind of creature, and I rather like the creatures we are becoming.<br />
<center>
❧</center>
<span style="font-style: italic;"><span style="font-weight: bold;">Ancient futurism:</span> <a href="http://charmicarmicat.blogspot.com/2009/09/conversation-with-tom-waits.html">Tom Waits</a>, <a href="http://charmicarmicat.blogspot.com/2009/05/conversation-with-roberto-benigni.html">Roberto Benigni</a>, <a href="http://charmicarmicat.blogspot.com/2008/06/conversations-with-thurston-moore-no.html">Thurston Moore</a>, <a href="http://charmicarmicat.blogspot.com/2008/06/conversation-with-al-green.html">Al Green</a>, <a href="http://charmicarmicat.blogspot.com/2008/02/conversation-with-lou-reed.html">Lou Reed</a>, <a href="http://charmicarmicat.blogspot.com/2011/03/questlove-on-clyde-stubblefield.html">Questlove</a>, <a href="http://charmicarmicat.blogspot.com/2007/12/conversation-with-mia.html">M.I.A.</a></span></div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-1098135562238127054.post-40128516423364664642011-04-23T11:21:00.001-04:002011-04-23T11:21:53.670-04:00Elvis Zeppelin<center><img src="http://i136.photobucket.com/albums/q168/sisario/Spinout_d2acd49f.jpg"></center>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1098135562238127054.post-20244052738433949002011-04-19T23:28:00.005-04:002011-04-19T23:37:44.421-04:00Some ‘Un Chien Andalou’ posters<center><img style="width: 450px; height: 647px;" src="http://i136.photobucket.com/albums/q168/sisario/Un-chien-andalou_a42974d7.jpg" /><br /><img style="width: 450px; height: 649px;" src="http://i136.photobucket.com/albums/q168/sisario/UnChienAndalouWielkieFilmyR-1996PolishB12675X3875.jpg" /><br /><img src="http://i136.photobucket.com/albums/q168/sisario/BUF_UnChien.jpg" /><br /><img style="width: 450px; height: 638px;" src="http://i136.photobucket.com/albums/q168/sisario/720c8195-e508-406a-8a59-d13fe1cacc05.jpg" /><br /><img style="width: 450px; height: 681px;" src="http://i136.photobucket.com/albums/q168/sisario/UnChienAndalouLesGrandsFilmsClassiquesR-1968OneSheet27X41.jpg" /></center>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1098135562238127054.post-81213924838150182592011-04-19T23:25:00.003-04:002011-04-19T23:28:41.676-04:00Charles Thompson ‘Doolittle’ interview, 1989<p>Conducted by <a href="http://nowavebook.blogspot.com/2008/01/roy-trakin.html">Roy Trakin</a>, and available on <a href="http://www.rocksbackpages.com/article.html?ArticleID=11069">Rock’s Backpages</a>.</p><br /><center><object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://fpdownload.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=8,0,0,0" width="335" height="28" id="divplaylist"><param name="movie" value="http://www.divshare.com/flash/playlist?myId=14615033-4b5" /><embed src="http://www.divshare.com/flash/playlist?myId=14615033-4b5" width="335" height="28" name="divplaylist" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed></object></center>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1098135562238127054.post-40271820932359366492011-04-17T12:01:00.001-04:002011-04-17T12:03:18.577-04:00Today the pond, tomorrow the world!<center><img src="http://i136.photobucket.com/albums/q168/sisario/FrogsAmericanInternational1972OneSheet27X41.jpg"></center>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1098135562238127054.post-57802453158210886302011-03-29T08:42:00.021-04:002011-04-06T15:55:46.364-04:00Questlove on Clyde Stubblefield<i>I interviewed <a href="http://www.nytimes.com/2011/03/30/arts/music/clyde-stubblefield-a-drummer-aims-for-royalties.html">Clyde Stubblefield</a>, who was one of James Brown’s key drummers from 1965 to 1971. He played on “Cold Sweat,” which needs no introduction, and “Funky Drummer,” perhaps the <a href="http://www.the-breaks.com/search.php?term=funky+drummer&type=4">most sampled beat ever</a>.<br /><br />It was an honor to talk to Clyde. It was also an honor to talk to Ahmir Thompson, a.k.a. Questlove of the Roots. We all know how great a drummer Ahmir is, and most probably also know that he’s a scholar and a very thoughtful guy about music. But I was still surprised by how insightful and eloquent he could be just speaking off the top of his head. Perhaps I shouldn’t have been. But his interview was too good to leave at two short quotes.<br /><br />So here’s our full conversation, minus some shop talk at the end when he referred me to Alan Leeds, who was Brown’s tour director at the time and is a primary historian on all things James Brown. (With Quest’s help I did reach Alan, who was awesome. He has one of the more incredible behind-the-scenes careers in music: after Brown, he worked as the tour manager for Funkadelic, then for Prince for most of the 1980s, and later for D’Angelo.)<br /><br />One thing that did surprise me about Quest, though, was that he talked a little like <a href="http://en.wikipedia.org/wiki/Wilkins_Micawber#Quotations">Mr. Micawber</a></i>.<center>❧</center><p><span style="font-style: italic;">Ahmir: </span>In short, there have been faster, and there have been stronger, but Clyde Stubblefield has a marksman’s left hand unlike any drummer in the 20th century. The thing that defines him, that sets him apart from other drummers, are his grace notes, which are sort of like the condiments of what spices up the main focus. The main focus of music is always the 2 and the 4, especially with the snare drum. And what lets you build your personality is how you dance around that 2 and the 4. The technical level of dynamics of his left hand, his ability to flam a 32nd note very silently, but a 16th note very loud and commanding. It takes a very, very specific marksman, in their Navy SEAL precision, to execute it perfectly. In short, it is he who defined funk music, more than anything.<br /><br /><i>Me: Was Clyde James Brown’s best drummer of all?, Better than <a href="http://www.youtube.com/watch?v=ey2qm-y7G7U">Jabo</a>, <a href="http://en.wikipedia.org/wiki/Bernard_Purdie">Bernard Purdie</a>, etc.?</i><br /><br />I’ve learned that to use good and bad, or to use best and worst, is not apropos. I believe that Clyde was the most effective drummer that James Brown has ever utilized. Jabo was his most powerful drummer, but Clyde was the most effective.<br /><br />James Brown used all his musicians as percussion players; it’s just that the other nine musicians were melodic players. They basically played a loop. Very rarely would a James Brown song go to linear thoughts, where you didn’t know what was coming next. It’s a four-bar loop every time, very disciplined, very tight. Clyde’s whole gift is that he was able to incorporate everyone’s role in it. The main kick and main snare are kind of like the traffic cop, but the hi-hat could emulate what the guitar was doing. His snare work really emulated <a href="http://en.wikipedia.org/wiki/Jimmy_Nolen">Jimmy Nolen</a>, and a lot of their rhythms were very precise 16th and 32nd notes.<br /><br />I felt as though Clyde was the most effective in completing the puzzle. His grace notes, his softest notes, defined a generation. It’s like the kind of ketchup you use, the things that surround the burger, as opposed to the burger itself.<br /><br /><i>Did Clyde have more influence as a drummer, on actual James Brown records, or as a sample?</i><br /><br />More influence as a sample, hands down. Clyde’s influence is more unique than his actual work for James Brown.<br /><br />It’s kind of weird, but I think his work with James Brown is too potent. As a DJ, I rarely play “Funky Drummer.” I rarely play “Soul Power.” But probably the record of choice, that has just enough sugar for the medicine to go down for most DJ’s, is the <a href="http://www.youtube.com/watch?v=m8KyyJIHu7c">live version of “Give It Up or Turnit A Loose.”</a> That’s a b-boy anthem, for most dancers. That song right there can be handled in a single dosage in a club. It’s like a jalapeño: you don’t want to just eat up the whole jalapeño, you want to cut it up and use it to spice your foods. And no, I won’t just use food metaphors here!<br /><br /><i>What about other popular samples, like the <a href="http://www.youtube.com/watch?v=5SaFTm2bcac">“Amen break”</a>?</i><br /><br />“Amen” and <a href="http://www.youtube.com/watch?v=WY-Z6wm6TMQ&playnext=1&list=PLD9AFEEF45033DB31">“Apache”</a> were also very influential, and they had an influence in Europe, on jungle, drum ’n’ bass. But for the true experts of drum ’n’ bass, the “Soul Pride” break is hands down the go-to break. And that has really inspired a movement of great dance music: drum ’n’ bass, not to mention Baltimore house music. Baltimore house is still a subgenre; it might not be the next big thing that people predicted three or four years ago. But it’s still a phenomenon.<br /><br />“Funky Drummer” has done miracles for hip-hop. It’s the traffic cop. The greatest hip-hop album of all time, “It Take a Nation of Millions to Hold Us Back” by Public Enemy — it’s all over that record. And that was intimidating to me. On Tuesday we’re doing “Fight the Power” with me and Clyde on drums, and Chuck D. That song is basically “Soul Pride” on steroids.<br /><br /><i>Does that mean that Clyde’s whole influence through the “Funky Drummer” sample distorts who he was as a musician? Since people weren’t really hearing the whole picture of who he was, just hearing a five-second break?</i><br /><br />He’s like the ghost in the machine. When you talk about the most perfect beat, it’s not even that “Funky Drummer” wins in a technical aspect. But in an artistic aspect, it’s hands down the most perfect beat you can loop — it’s very lyrical, very melodic, very rhythmic. It’s perfect. It’s magical. Everyone I know as a producer, that’s gotten their start hip-hop production, they all have their story about the first time they heard “Funky Drummer.”<br /><br />When I first heard “Funky Drummer,” I had James Brown’s <a href="http://en.wikipedia.org/wiki/In_the_Jungle_Groove">“In the Jungle Groove”</a> album. I gave it to my father as a Christmas gift. I knew he liked James Brown. I had that album for like four months. I don’t know why or how we let it sit for so long without investigating it. Maybe it’s because “Funky Drummer” was the only single during James Brown’s hit period, of roughly 1965 to 1975, when he had something like 70 top 10 hits, it was the only single that never reached the top 10.* Ironically, it was also one of Clyde’s last sessions with the James Brown Orchestra before Bootsy and his team came in.**<br /><br />On Tuesday we are getting him to sit in with us. But any time I’ve seen Clyde footage of him playing somewhere, I’ve always been chagrined they have him on a new drum set that’s horribly tuned, so it sounds nothing like Clyde from the 1960s. So this time I am personally bringing out <a href="http://twitter.com/#%21/questlove/status/52762160929058817">my 40-year-old Yamaha kit</a> for him. </p><br /><hr /><p><i>* Not quite, but you get the idea. Between 1965 and 1975, James Brown had 65 songs in the R&B top 40, and 44 of them reached the top 10. (“Funky Drummer” reached No. 20.) On the pop charts for the same period, Brown had 37 top 40 hits, 6 in the top 10.<br /><br />** In March 1970, most of Brown’s band mutinied, demanding better treatment and pay. Brown fired them and put together an almost entirely new group, including the young Bootsy and Catfish Collins; that new band became known as the JB’s.<br /><br />Clyde’s history is a little confusing at this point. According to Alan Leeds, Clyde was not present during the 1970 mutiny; he had left in December 1969, and he returned in June 1970 for a stay of about six months. (Note that Clyde played on “Get Up, Get Into It and Stay Involved,” recorded in November 1970.) Leeds says that Clyde next left again in late 1970: the band was going to Africa and Clyde had a problem with his paperwork. He returned for a short period in late 1971, and then left for good.</i></p>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-1098135562238127054.post-26522346519850206212010-12-28T11:41:00.003-05:002010-12-28T11:53:57.250-05:00Who I buried in 2010<img style="margin: 0pt 0px 20px 35pt; float: right; width: 195px; height: 195px;" src="http://i136.photobucket.com/albums/q168/sisario/misc%20used%20blog%20pix/Gravestone.jpg" alt="Photobucket" border="0" /><ul><li><a href="http://www.nytimes.com/2010/01/06/arts/music/06mitchell.html">Willie Mitchell</a></li><li><a href="http://www.nytimes.com/2010/01/15/arts/music/15reatard.html">Jay Reatard</a></li><li><a href="http://www.nytimes.com/2010/01/20/arts/music/20mcgarrigle.html">Kate McGarrigle</a></li><li><a href="http://www.nytimes.com/2010/02/16/arts/music/16fieger.html">Doug Fieger</a> of the Knack</li><li><a href="http://www.nytimes.com/2010/03/08/arts/music/08linkous.html">Mark Linkous</a>, a.k.a. Sparklehorse</li><li><a href="http://www.nytimes.com/2010/03/25/arts/music/25marshall.html">Jim Marshall</a></li><li><a href="http://www.nytimes.com/2010/06/26/arts/music/26quaife.html">Pete Quaife</a> of the Kinks</li><li><a href="http://www.nytimes.com/2010/07/13/arts/music/13kupferberg.html">Tuli Kupferberg</a></li><li><a href="http://www.nytimes.com/2010/10/11/arts/music/11burke.html">Solomon Burke</a></li><li><a href="http://www.nytimes.com/2010/12/28/arts/music/28marie.html">Teena Marie</a></li></ul><br /><p>It will also always be sad to me that on Christmas day last year I excused myself from my family dinner to write <a href="http://www.nytimes.com/2009/12/26/arts/music/26chesnutt.html">Vic Chesnutt’s obituary</a>.</p>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-1098135562238127054.post-72116766197644075392010-12-23T13:20:00.003-05:002010-12-23T13:29:25.118-05:00‘Mean Old Jews Who Crucify My Lord’<p>A holiday classic, by Sister Albertha Harris Lewis.</p><br /><center><object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://fpdownload.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=8,0,0,0" id="divplaylist" width="335" height="28"><param name="movie" value="http://www.divshare.com/flash/playlist?myId=13590488-2aa"><embed src="http://www.divshare.com/flash/playlist?myId=13590488-2aa" name="divplaylist" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer" width="335" height="28"></embed></object><br /><br /><img style="width: 352px; height: 350px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/0meanjews.jpg" alt="Photobucket" border="0" /></center><br /><br /><p>Label image from <a href="http://thehoundblog.blogspot.com/2009/03/this-weeks-5-pack.html">TheHoundBlog</a>.</p>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-1098135562238127054.post-71243790386247389672010-12-22T15:33:00.000-05:002010-12-22T16:26:23.155-05:00Best of 2010<p>My top 20:<br /><blockquote>1. Sufjan Stevens, <span style="font-style:italic;">The Age of Adz</span><br />2. Laura Marling, <span style="font-style:italic;">I Speak Because I Can</span><br />3. Sleigh Bells, <span style="font-style:italic;">Treats</span><br />4. Sharon Van Etten, <span style="font-style:italic;">Epic</span><br />5. Teenage Fanclub, <span style="font-style:italic;">Shadows</span><br />6. Best Coast, <span style="font-style:italic;">Crazy for You</span><br />7. Kanye West, <span style="font-style:italic;">My Beautiful Dark Twisted Fantasy</span><br />8. Sade, <span style="font-style:italic;">Soldier of Love</span><br />9. Beach House, <span style="font-style:italic;">Teen Dream</span><br />10. Man Forever, s/t<br />11. Marc Ribot, <span style="font-style:italic;">Silent Movies</span><br />12. Mumford & Sons, <span style="font-style:italic;">Sigh No More</span><br />13. Arcade Fire, <span style="font-style:italic;">The Suburbs</span><br />14. Janelle Monáe, <span style="font-style:italic;">The ArchAndroid</span><br />15. The Roots, <span style="font-style:italic;">How I Got Over</span><br />16. She & Him, <span style="font-style:italic;">Volume Two</span><br />17. Los Lobos, <span style="font-style:italic;">Tin Can Trust</span><br />18. Jenny Wilson, <span style="font-style:italic;">Hardships!</span><br />19. Mountain Man, <span style="font-style:italic;">Made the Harbor</span><br />20. AfroCubism, s/t</blockquote></p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1098135562238127054.post-20740716113656645662010-11-07T11:45:00.001-05:002010-11-07T11:47:05.510-05:00‘Vampires Ripped My Flesh’<center><img style="width: 450px; height: 614px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/1956-03MansLife.jpg" alt="Photobucket" border="0" /></center><br /><p>By <a href="http://www.pulpartists.com/SN.html">Norman Saunders</a>.</p>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-1098135562238127054.post-14584312032316232182010-10-31T14:23:00.002-04:002010-10-31T14:26:37.976-04:00Huh?<center><img style="width: 400px; height: 598px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/WEENfounders_Melyssa.jpg" alt="Photobucket" border="0" /></center>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-1098135562238127054.post-31400631210950460982010-10-25T17:00:00.001-04:002010-10-25T17:45:49.287-04:00Four-word reviews from CMJ 2010<ul><li><span style="font-style: italic;">Marnie Stern:</span> Mix <a href="http://twitter.com/sisario/status/27991993090">buries guitar</a>. Crime!</li><li><span style="font-style: italic;">Dent May:</span> Despite shtick, lyrical songcraft.</li><li><span style="font-style: italic;">DOM:</span> Garage-rock as vidgame.</li><li><span style="font-style: italic;">Baths:</span> Falsetto humanizes wobbly chilltronica.</li><li><span style="font-style: italic;">The Loom:</span> Appalachian garment, angst-y stitching.</li><li><span style="font-style: italic;">Lucius:</span> Luscious, luminous, lilting lullabies.</li><li><span style="font-style: italic;">Wild Nothing:</span> Name is half untrue.</li><li><span style="font-style: italic;"><a href="http://twitter.com/sisario/status/27883575343">Yo La Tengo</a>:</span> Indie endpoint? Irrelevant: wonderful.</li><li><span style="font-style: italic;"><a href="http://twitter.com/sisario/status/27860744681">The swag</a> (not a band):</span> Improved bag, dwindling <a href="http://twitter.com/Ruschka/status/27860551410">stuffing</a>.</li><li><span style="font-style: italic;">Woven Bones:</span> <a href="http://twitter.com/sisario/status/28467643996">Fun</a>/evil feedback <a href="http://twitter.com/sisario/status/28466980809">vortex</a>.</li><li><span style="font-style: italic;">Times New Viking:</span> <a href="http://twitter.com/sisario/status/28437530740">Faster</a>, chantier, unison-er, <a href="http://twitter.com/sisario/status/28432263298">better</a>.</li><li><span style="font-style: italic;">Braids:</span> Patterns enthrall, <a href="http://twitter.com/sisario/status/28539576729">tinkering offputs</a>.</li><li><span style="font-style: italic;">David Vandervelde:</span> <a href="http://twitter.com/sisario/status/28530603174">Leon-ine</a>, hirsute <a href="http://twitter.com/sisario/status/28529454379">space blooze</a>.</li><li><span style="font-style: italic;">Phantom Band:</span> Perfect indie <a href="http://twitter.com/sisario/status/28529054788">choogle</a> + melodica(s).</li><li><span style="font-style: italic;">Robert Lester Folsom:</span> Belated debut; kinda “Margaritaville.”</li><li><span style="font-style: italic;"><a href="http://twitter.com/sisario/status/28442085867">Homeboy Sandman</a>:</span> “Ohhh, freestyle o’ mine.”</li><li><span style="font-style: italic;">Atomic Tom:</span> Equipped, competent; heard before.</li><li><span style="font-style: italic;">Shilpa Ray:</span> Sounded fearsome, looked weary.</li><li><span style="font-style: italic;">Prince Rama:</span> Postpunk tribalism; <a href="http://twitter.com/sisario/status/28467704343">Ari echoes</a>.</li><li><span style="font-style: italic;">Shrag:</span> More Ari. (<a href="http://twitter.com/sisario/status/28433114786">Or Headcoatees?</a>)</li><li><span style="font-style: italic;"><a href="http://twitter.com/sisario/status/27968143097">Martina Topley-Bird</a>:</span> Right rasp, soul, sex.</li><li><span style="font-style: italic;">The Body:</span> <a href="http://twitter.com/sisario/status/28564169483">Cranial drill volume</a>. Whaaat?</li><li><span style="font-style: italic;">Oberhofer:</span> Designated <a href="http://twitter.com/sisario/status/28436460022">marathonners</a>, <a href="http://twitter.com/sisario/status/28443350300">surfin’ Blood</a>.</li><li><span style="font-style: italic;">No Joy:</span> <a href="http://twitter.com/sisario/status/28453008045">Haze</a> — feedback or <a href="http://twitter.com/sisario/status/28074425577">hair</a>?</li><li><span style="font-style: italic;">La Sera:</span> Simplicity, but not grace.</li><li><span style="font-style: italic;">Cloud Nothings:</span> Basement melody liberated, <a href="http://artsbeat.blogs.nytimes.com/2010/10/22/an-airy-respite-from-cmjs-subterranean-scene/">bashingly</a>.</li><li><span style="font-style: italic;">Viva l’American Death Ray Music:</span> Greasepaint roar, Fall scrape.</li><li><span style="font-style: italic;">Lower Dens:</span> Slow cloud, affectless cry.</li><li><span style="font-style: italic;">Cough:</span> <a href="http://twitter.com/sisario/status/28605560006">“Play slow, die ignorant”</a>?!</li><li><span style="font-style: italic;">Lia Ices:</span> (Kate + Joanna) <a href="http://twitter.com/sisario/status/28549280735">/</a> (Arwen − Stevie)</li><li><span style="font-style: italic;">Kanye West:</span> Can he say <a href="http://twitter.com/sisario/status/28596701874">no</a>?</li></ul>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-1098135562238127054.post-88132093971183069192010-10-08T14:37:00.022-04:002011-02-03T07:37:35.612-05:00How to read Pitchfork’s Corin Tucker review<p>Earlier this year, my colleague Jon Caramanica <a href="http://www.nytimes.com/2010/07/15/arts/music/15pitchfork.html">suggested</a> that Pitchfork had entered its establishment phase: no longer a scrappy upstart with an outsider perspective, it now effectively defines tastes for its young demographic, and it knows that. By implication, Pitchfork now has a reputation to protect.<br /><br />The same thing happened to Rolling Stone at some point — some people trace it to around the time it moved to New York <a href="http://www.fundinguniverse.com/company-histories/Wenner-Media-Inc-Company-History.html">in 1977</a>, some a little later — when it became clear that it was no longer a “countercultural” publication, and it began to prop up a chosen pantheon by putting the same people on the cover again and again, the magazine reinforcing the stars and the stars reinforcing the magazine. That leads to a sort of eternal status quo, an attitude that extends to its famously cautious review section, where almost everything gets 3.5 stars and “legends” amazingly never make a bad album. The classic joke here is Bob Dylan, who gets 5 stars for a good album and <a href="http://www.newyorker.com/online/blogs/goingson/2009/04/star-turns-continued.html">4 stars for a bad one</a>.<br /><br />Perhaps one sign of the aging of Pitchfork is that it has begun to coddle its heroes. It’s been around for 15 years now, and has had wide influence for 10, which means that right about now it is coming around to the sacred cows of the mid to late ’90s as they attempt their comebacks and await/enter/deny middle age. These are the figures who define the Pitchfork sensibility, and it’s only natural that the publication would protect them.<br /><br />Today Pitchfork posted a review of <a href="http://pitchfork.com/reviews/albums/14700-1000-years/">“1,000 Years,”</a> the first solo album by Corin Tucker of Sleater-Kinney. It got a 6.5, the Pitchfork equivalent of Rolling Stone’s 3.5 stars, and the piece is a textbook example of how to write a negative review in the nicest, most tentative and most indirect way possible, with all kinds of escape clauses to allow the writer to feel that she wrote a negative piece and the publication to feel that it still published a positive one. (I’m leaving out the byline; my problem is with the writing, not the writer, whom I don’t know at all.)<br /><br />On a quick read it’s full of flattery, but looking closer the flattery is mostly about Sleater-Kinney, and the negative judgment of the album is dispatched as quickly as possible low in the piece. The blow of that negativity is softened by lots of foreshadowing, a cushion of nostalgia for Sleater-Kinney and friendly, almost sycophantic gestures toward Tucker. What this means is that 6.5 out of 10 was the lowest score Pitchfork was willing to give Tucker, even if she may have deserved less (I haven't heard the album so I have no opinion). After all, Tucker’s a star; she can do no wrong.</p><center>❧</center><p>So here’s what goes on in the review, which I present line-by-line and complete:</p><blockquote><span style="font-style: italic;">Sleater-Kinney went on indefinite hiatus in 2006. Since then, drummer Janet Weiss released albums with Quasi and Stephen Malkmus' Jicks, while guitarist Carrie Brownstein embarked on a comedy career with Fred Armisen and became a music blogger for NPR. (The two women also recently announced a new project together, Wild Flag, alongside Mary Timony.) But Corin Tucker has been strangely quiet-- which is ironic given that she was the shrieking-banshee warbler of the group. Out of the spotlight, Tucker has spent the last four years attending to her family in Portland, Oregon-- she has two children with filmmaker Lance Bangs-- and, more recently, working on her own songs around her kids' school and playgroup schedules with a new eponymous band that includes former Unwound drummer Sara Lund and guitarist Seth Lorinczi of the Golden Bears.</span></blockquote><p>Long, throat-clearing news lede; affirmation of Tucker's elite status and establishment of high expectations.</p><blockquote><span style="font-style: italic;">These new tracks, which now comprise 1,000 Years, are recognizably Tucker's, though they derive their intensity not from volatile guitars, driving rhythms, or brash vocal melodies, but from their surprisingly muted, slow-burning intimacy.</span></blockquote><p>Foreshadowing of disappointment and failure, hedged by evocation of a lost golden age: No matter what Tucker comes up with, it couldn't possibly compare to the “volatile,” “driving,” “brash” riches back in those good old days. </p><blockquote><span style="font-style: italic;">So be forewarned, though: fans jonesing for a Sleater-Kinney fix will be disappointed.</span></blockquote><p>Shifting of critical burden to “fans” whose “jonesing” functions as an arbitrary threshold giving critic and publication plausible deniability: “Hey, it’s the fans who have those expectations, not us.” </p><blockquote><span style="font-style: italic;">Instead of bursting into the expected shrieking choruses, these songs smolder. Melodies meander, encouraging patience in their listeners. Tucker uses her bold caterwaul sparingly, which is partially a shame since we are so starved for it, but also gives great weight to the few moments when she finally unfurls the full force of her yelp (as on "Riley", one of the few tracks that recalls Tucker's more incendiary Sleater-Kinney past).</span></blockquote><p>Imagistic pseudo-poetics disguised as deconstruction; more nostalgia for Sleater-Kinney's old glory (“bold caterwaul”), which reinforces the prejudicial high bar; suggestion that Tucker is actually capable of providing that S-K “fix” that “fans” have been “jonesing for” — and thus if she doesn't, her endeavor is a failure.</p><blockquote><span style="font-style: italic;">Yet these songs have a quiet power of their own, and many surprise listeners by relying on gently finger-picked guitar lines or dreamy, sparse piano arrangements (as on the originally-made-for-Twilight: New Moon track "Miles Away" or the opening of the life-during-recession tale "Thrift Store Coats"). Without Weiss' fierce fills and Brownstein's fiery riffage, Tucker's tunes sound tame and downcast.</span></blockquote><p>More critical peacocking and S-K remembrance; catalog of mild praise for Tucker, and foreshadowing that “without Weiss' fierce fills and Brownstein’s fiery riffage,” she ain’t shit.</p><blockquote><span style="font-style: italic;">Sometimes that restraint is lovely, as on "Half a World Away", a spare, staccato track about the difficulty of being separated from Bangs while he's traveling for work. That song is a bit of a fake-out for S-K fans, as it's built on a hiccupping vocal melody that recalls One Beat's "Combat Rock" in its verses, but fails to explode into a hollered chorus, which only makes its lyrical longing more palpable.</span> </blockquote><p>Yet more irrelevant, prejudicial "my favorite Sleater-Kinney moment" commentary, disguised as the faintest compliment for Tucker's album that the writer can muster.</p><blockquote><span style="font-style: italic;">But sometimes that restraint disappoints,</span></blockquote><p>Here comes the dis</p><blockquote><span style="font-style: italic;">as on the wilting, acoustic "Dragon",</span></blockquote><p>“Wilting” is bad</p><blockquote><span style="font-style: italic;">whose cutesy string pizzicatos </span></blockquote><p>“Cutesy” is bad</p><blockquote><span style="font-style: italic;">only add to its overworked </span></blockquote><p>“Overworked” is bad. </p><blockquote><span style="font-style: italic;">chamber-pop ambiance.</span></blockquote><p>“Chamber-pop” in this context is a dis, implying a hard rocker who has gone soft.<br /><br />The dis here is a quick barrage of specific negative judgments like one-two punches, which in terms of argument obliterate the wishy-washy praise that preceded it. These are the only concrete judgments in the entire review. But to protect the critic and the publication from the impression that they have bashed Tucker, whom they obviously love to pieces, those criticisms are immediately softened, and the argument that forms the basis of the piece — that Tucker's solo work does not compare to Sleater-Kinney — is withdrawn: </p><blockquote><span style="font-style: italic;">This album's strengths-- its intimacy, its containment, its subtlety-- are not the qualities that made Sleater-Kinney great, but it would be ungenerous to dismiss this because it's not as thrilling, confrontational, or exuberant. </span></blockquote><p>“To be sure...”</p><blockquote><span style="font-style: italic;">Plus, 1,000 Years is clearly a personal collection-- it's hard to not hear songs like the aforementioned "Half a World Away" or the loneliness-tinged "It's Always Summer", with its lines about hotel bars and counting the days, as autobiographical tales of a marriage that is often plagued by work-related distance and separation.</span></blockquote><p>“I mean, we still like you, Corin.”</p><blockquote><span style="font-style: italic;">And the comparably subdued nature of the album's music complements such lyrical confidences. </span></blockquote><p>“And we think you are still capable of good stuff.”</p><blockquote><span style="font-style: italic;">So, if you are looking for catharsis via Sleater-Kinney, pull out your copy of Dig Me Out or The Woods, </span></blockquote><p>“...which we gave a <a href="http://pitchfork.com/reviews/albums/7240-the-woods/">9.0</a>.”</p><blockquote><span style="font-style: italic;">but if you are interested in where Corin Tucker is now, 1,000 Years provides a thoughtful, subtle snapshot.</span></blockquote><p>Polite dismissal, avoidance of critical summation, careful calculation not to burn bridges, and passing of buck to "you" fans, who will be disappointed by this thing that is not a Sleater-Kinney album, but is done by someone we still like a lot. <a href="http://www.rollingstone.com/music/reviews/album/7733/37826">World, meet Corin Tucker, solo artist</a>.</p>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-1098135562238127054.post-62641355054349931092010-09-13T23:15:00.002-04:002010-09-13T23:23:17.743-04:00Haunted ATP<center><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/_nsICPSndpI?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/_nsICPSndpI?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/CXbf761tI8U?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/CXbf761tI8U?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object></center>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1098135562238127054.post-38569308689820204552010-09-10T05:00:00.000-04:002010-09-10T05:00:06.420-04:00Cool ‘Boardwalk Empire’ posters<p>I was stopped in my tracks at Grand Central Station the other day by these posters for Martin Scorsese’s new TV thing, <a href="http://www.nytimes.com/2010/09/05/arts/television/05empire.html">“Boardwalk Empire.”</a> These are the only ones I was able to easily track down online, but there were at least four or five other designs, including <a href="http://theapartment.posterous.com/hbo-boardwalk-empire">this</a> great “Vaudeville” image that seemed to have stunned another commuter.</p><br /><center><img src="http://i136.photobucket.com/albums/q168/sisario/Posters/boardwalk_empir.jpg" border="0" alt="Photobucket"><img src="http://i136.photobucket.com/albums/q168/sisario/Posters/boardwalk_empir_2.jpg" border="0" alt="Photobucket"><img src="http://i136.photobucket.com/albums/q168/sisario/Posters/Boardwalk_Verticle_KeyArt.jpg" border="0" alt="Photobucket"></center>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-1098135562238127054.post-3008560648949929252010-09-08T11:45:00.000-04:002010-09-08T11:45:00.290-04:00Carpets of Kutsher’s (part 2)<center><img style="width: 600px; height: 450px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2675.jpg" alt="Photobucket" border="0" /><img style="width: 600px; height: 450px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2655.jpg" alt="Photobucket" border="0" /><img style="width: 600px; height: 450px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2649.jpg" alt="Photobucket" border="0" /><img style="width: 600px; height: 450px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2684.jpg" alt="Photobucket" border="0" /><img style="width: 600px; height: 450px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2693.jpg" alt="Photobucket" border="0" /><img style="width: 600px; height: 450px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2696.jpg" alt="Photobucket" border="0" /></center>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1098135562238127054.post-57602179833909686942010-09-08T00:08:00.003-04:002010-09-08T00:18:08.226-04:00Carpets of Kutsher’s (part 1)<center><img style="width: 600px; height: 449px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2615.jpg" alt="Photobucket" border="0" /><img style="width: 600px; height: 449px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2619.jpg" alt="Photobucket" border="0" /><img style="width: 600px; height: 450px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2637.jpg" alt="Photobucket" border="0" /><img style="width: 600px; height: 441px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2642.jpg" alt="Photobucket" border="0" /><img style="width: 600px; height: 450px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2650.jpg" alt="Photobucket" border="0" /><img style="width: 600px; height: 450px;" src="http://i136.photobucket.com/albums/q168/sisario/2010%20misc/IMG_2657.jpg" alt="Photobucket" border="0" /></center>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1098135562238127054.post-18756811640283064142010-09-06T22:27:00.003-04:002010-09-06T23:01:00.385-04:00Effed Up @ ATP<p>Here's a video of the great Fucked Up performing yesterday at All Tomorrow's Parties/New York. Just a random 2 minutes 30 seconds of Pink Eyes and crew (and fans) doing their thing -- this video could have been snapped from any 2 minutes 30 seconds of the set and it would have been equally as amazing.</p><br /><center><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/iwSc7CrcEQI?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/iwSc7CrcEQI?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object></center><br /><p>More photos and video from ATP coming soon. In the meantime:</p><br /><center><img src="http://i136.photobucket.com/albums/q168/sisario/Photos/IMG_2972.jpg" border="0" alt="Photobucket"><img src="http://i136.photobucket.com/albums/q168/sisario/Photos/IMG_2973.jpg" border="0" alt="Photobucket"><img src="http://i136.photobucket.com/albums/q168/sisario/Photos/IMG_2974.jpg" border="0" alt="Photobucket"><img src="http://i136.photobucket.com/albums/q168/sisario/Photos/IMG_2975.jpg" border="0" alt="Photobucket"></center>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1098135562238127054.post-88442980777260216212010-09-06T05:00:00.001-04:002010-09-06T05:00:03.639-04:00To be a reptilicus, and to chomp a babe<center><a href="http://en.wikipedia.org/wiki/Reptilicus"><img style="width: 470px; height: 709px;" src="http://i136.photobucket.com/albums/q168/sisario/Posters/Reptilicus_e1b08e67.jpg" alt="Photobucket" border="0" /></a></center>Unknownnoreply@blogger.com0