Wednesday, April 16, 2014

Theme: Music

  • We know all the essential passport application stuff about Bush, and down the years she’s dutifully done the odd unrevealingly bland Q&A, but there’s an immense amount we don’t know. Has she ever taken psychedelic drugs? Has she had therapy? (Reichian, Jungian, marriage?) What music makes her cry? Is she actually a lifelong Rosicrucian?Read more
  • I, myself, was barely six months old when Twin/Tone put out The Mats’ Let It Be. The day, they say, was Orwellian: Tuesday, October 2, 1984. Naturally, I recall nothing of it. Growing up, simple arithmetic holds I was 20 when Colin Meloy’s book about Let It Be was released by Continuum. Whereas I now know every groove in that record by heart (and pretty much all of Meloy’s words about it), alas, I only remember parts of the night I was, err, “gifted” my first 33 ⅓ book.Read more
  • When the video for Miley Cyrus’s pre-album “We Can’t Stop” dropped last summer the immediate reaction was that the bitch was going crazy – that what we were witnessing here was yet another public display of hysteria, that special kind of madness reserved for the onset of a female sexuality decoupled from the logic of reproduction and domesticity.Read more
  • This is not another obituary, another retrospective, another "Lou Reed's songs were the soundtrack to my life" essay. It is instead an attempt to find, in the small, quiet pockets of air in Lou Reed's 1975 album Metal Machine Music trace elements of the less obvious ingredients that made the music possible. And here is a sample of that music.Read more
  • The rapper DMX is famous for his infamy. Fame came to him through his trademark rapping style and emotionally staggering songwriting, letting him become the powerhouse that has had five consecutive No. 1 albums. Infamy came to him through his continuous trouble in abiding several legal frameworks and law-enforcing authorities. The intersections of DMX’s fame and infamy, once responsible for his rise to mainstream prominence by inspiring soulful lyrics, is now following a pattern in which the infamy overshadows the artist’s creative credibility.Read more
  • Michael Jackson performs as part of The Jackson Five on 1983's Motown 25: Yesterday, Today, Forever. He then performs a classic solo spot.Read more
  • In the fall of 1991, a 24-year-old Juliana Hatfield had just broken up her college band, Blake Babies, a mainstay of Boston’s fertile indie rock scene, and finished recording her solo debut, Hey Babe, now many years out of print. It came out on the independent label Mammoth in March 1992 amid the industry gold rush that followed the success of Nirvana’s Nevermind, and was among the most successful independent releases of the “year of the woman,” selling over 60,000 copies and earning widespread critical accolades.Read more
  • I came across these jingling rhymes in a newspaper, a little while ago, and read them a couple of times. They took instant and entire possession of me. All through breakfast they went waltzing through my brain; and when, at last, I rolled up my napkin, I could not tell whether I had eaten anything or not. I had carefully laid out my day's work the day before—thrilling tragedy in the novel which I am writing.Read more
  • Men can’t just write serious songs anymore (Kanye West’s “New Slaves,” which I find arresting, but…) or make serious films or write serious books. They also need to date/marry/love serious women who are doing serious things other than dating so-called serious men. Women who actually reflect these so-called serious men’s so-called anti-establishment politics.Read more
  • The chance entrance to the city before it disappeared. Thoughts hanging like bodies from ropes. The image seems to have been taken from inside a moving car, but this is staged. The windshield wipers are props. The highway is front-projection.Read more
  • The Knife definitely employs the shock-value of an incestuous theme to further strengthen their mission in creating powerful work. The music duo is comprised of Swedish siblings Olof Dreijer and Karin Dreijer Andersson. They produce and release their music through their own label, Rabid Records, and therefore are in complete creative control of their artistic product.Read more
  • As if the name alone weren’t troubling enough, the fact that No New York is, was and forever shall be a compilation proves equally as troublous. More so than anyone else, it was Brian Eno who committed these four bands to wax. So, yet again, an essay explicitly devoted to what’s essentially his mix tape might be a goof from the get-go.Read more
  • Take one look at Clara Rockmore, what do you see? Massive piled-upon Beehive, frail hands, but it is the eyes, and the eyes are fixed upon one predetermined point in the universe, a single ligature, like a somnambulist cheating in someone’s dressing room.Read more
  • The new, old Rolling Stones film, “Charlie Is My Darling,” played at Portland’s Hollywood Theatre this past weekend, and we joined a mellow crowd of folks carrying beers and popcorn into the main auditorium, most of us probably able to claim that we had been raised on the Stones.Read more
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