I #like this picture.
I #like this picture.
"After the variety shows are over, the late movies come on, where some of the same singers show up twenty or thirty years younger doing the original versions of the same songs." Geoffrey O’Brien, Sonata for Jukebox. Okay, then.
Bill Cosby introduces Steely Dan
Chris Stein’s incredible allergic reaction to shellfish is one of rock history’s least-reported facts.
‘Fire In The Hole’ by Steely Dan
Top 5 overlooked Steely Dan songs. Partakes of the Randy Newman barroom singer-songwriter style, with a whiff of Dr. John’s Easygoing Creole Seasoning. Balanced with CHOPS-heavy piano solo and an “I’m Going CRAZY in Here” narrative familiar to professional songwriters (still their mindset at this point).
In this final Poptimist, Tom Ewing attempts to shift perspectives on the problematic nature of the online stream, thinking of …
I read Alexis Madrigal’s piece on “stream fatigue” - http://www.theatlantic.com/technology/archive/2013/12/2013-the-year-the-stream-crested/282202/ - and it sent me scurrying back here to check what I’d said a couple of years ago about this stuff and see whether I was terribly wrong.
Actually - preen preen - I wasn’t wrong. I still think the best way to understand this stuff is not by looking at the stream as a monolithic thing which everyone experiences and deals with in the same way, but to look more closely at the different cultures which emerge within different streams, and try for critical analyses of the ways techniques for operating in “the stream” vary. i.e. to focus on streams themselves rather than focus too heavily on what they do to other objects (be it music or “content”)
My linked essay does a pretty good job (if I do say so myself) of exploring this in less abstract ways - it’s not a thunderbolt of perfection or anything, and it’s hobbled a bit by the stupid and self-important decision to invent a new word rather than just use “the stream”, but it stands up. That bad decision was partly a consequence of writing it for Pitchfork rather than for this blog and thinking “the stream” was too jargonish for that audience (so invent a new bit of jargon instead - well done me).
I thought - and was proved entirely right - that the kind of people I wanted to read it (planners, tech people) would be WAY more likely to if it was posted on a site they might bump into anyway, rather than on a market research blog. Nobody outside market research reads research blogs. (Except you, my wonderful followers).
Fantastic article, I miss Poptimist!
Post-going-viral foreword: I’d love to link to blog/longform pieces by trans women about the Grantland article (here, at the top, above my words). I am searching, but plz send links to @handler on Twitter, or email michael/at\grendel/dot\net or contact via Tumblr. Thanks. -mh
Dear Caleb Hannan & the editors of Grantland:
I’m not a habitual reader of Grantland, because I’m not much into the work-a-day issues and discussions of the sports world. I do love long-form journalism about specific people, and culture, and pop culture issues, and the works that I’ve read on Grantland have been satisfying enough that I kept on wondering why I wasn’t making it part of my regular reading rounds. The other week, I stumbled across Chuck Klosterman’s article about Royce White and mental health, and I shared it with my SO, and she shared it with her family, and we had a deep and connecting discussion about it which I am still appreciating.
Despite my lack of regular connection to Grantland, I am compelled to write in to you about Caleb Hannan’s article about Dr. V, which I read today, mostly in openmouthed disgust, and with increasing horror as it built to its conclusion.
There’s no question that the design, origin, and performance of a new golf club of mysterious provenance, from outside the historical establishment of equipment design, is a compelling and interesting story on many levels. There’s no question that the behavior and history of an erratic and inconsistent inventor, whose claimed superlative credentials persistently cannot be verified, is also compelling and relevant to the narrative.
There’s also no question that the way that Dr. V’s existence as a trans woman was researched, outed, and used in the narrative of the story was monstrous, stereotypical, transphobic, hurtful, and wrong.
Important response to the terrible article in Grantland in which a reporter chooses to out a trans person, then routes the grief of that person’s subsequent suicide onto himself. Another good response here.
A couple of years from now, I will be a teacher. My dad has told me I shouldn’t be out, because I’ll get thrown out of my teaching position by kids’ parents. So, kindly reblog to let me know if you would let your kid be taught by a trans* person. I’m hoping to build some confidence for myself.
The results of the Village Voice critics poll Pazz & Jopp, which has a very long history and is viewed and sometimes obsessed over by music critics and a few people who kind of want to be music critics, went up tonight. For the last few years the most fun part of the poll for me is reading Glenn…
There was a time when I really wanted my tastes to veer from whatever I imagined the “norm” was, and prided myself on distinguishing myself in that way. Nowadays, though, I’m the exact opposite: I take a certain solace (?) in knowing my tastes accord with those of my peers. It’s an age thing, yes, but it’s also that I live in Utah, I never get to hang at shows with people anymore, and it’s nice to know that I’m part of a larger taste public, corny as that sounds. It’s nice to share things with people! And yes, this means strategically misrecognizing PR machinery and putting too much faith in the objectivity of critical analysis (as Mark nods toward), but evaluating art in the way myself and my peers do is already a pretty silly game in which we dress our subjectivities in the fineries of objectivity, so why not play along.
As recently as last year I was all aboard Pazz & Jop participation, but I didn’t do it this year, nor will I probably do it again. Part of it’s me slowly receding from the trenches of music crit, and part of it’s the fact that yes, the Voice has significantly declined in quality. Looks like I’m not alone, either. 400-some participants feels like a really low number.