Wednesday, 8 February 2012
n+1 is a thrice annually (three times per year. I think that's how you say it.) published literary magazine that examines all sorts of neat things, from politics to literature to culture. The latest issue includes a 9,500-word (!) examination of the new indie music world with a focus on the history and influence of Pitchfork. Richard Beck wrote the aptly titled "5.4" and you should read it.
Beck looks at Pitchfork's journey from collection of indie-loving Minnesotans writing love stories about their favourite records in the 1990s to the cultural juggernaut that it is today. He also looks at building "cultural capital" and what indie music has become in this day and age where the word "indie" has a completely different connotation. Beck also uses the word "pedantic" a lot.
Overall the article is worth your time, if you can spare the 0.5-1 hour you'll need to consume 9,500 words.
h/t to @comfortablekid
Tuesday, 7 February 2012
If the Grammys are a steaming pile of shit, then the Junos are a steaming pile of shit with gravy, cheese curds, and Chad Kroeger's ball sack hair. Like the dysfunctional shit-show that takes place every February at L.A.'s Staples Center, the Junos are full of absurd categorical nominations, undeserving nominees, industry politicking, ridiculous standards for certain categories, hip-hop/rap discrimination and poor host selections. Despite some improvement in recent years, the Junos are still hilariously stupid in many aspects. BUT WE STILL LOVE 'EM!
The nominees for the Junos were announced today and they did not disappoint. LET'S MAKE FUN OF THEM!
Monday, 16 January 2012
(Ed. note: I am well aware that it is January 16, 2012. I am also aware that most best-of 2011 lists came out at the end of December, 2011. I wanted this list to come out at that time but it took me so fucking long to write this. I wasn't anticipating this post to be this long, but it is...so...yeah. Deal with it.)
Well, another year and all that shit. It's been an OK year for music, in my opinion. I always seem to say this at the end of every year. "Yeah it was decent. Not great, but not terrible". In reality, the true measure of a year's worth of music cannot be calculated until long after December 31. Opinions change. What was good in 2011 may not appear as good in five years. The fact of the matter is that we cannot yet begin to determine what songs sound "dated", or trapped in their time. Some songs will inevitably be associated with one point in the history of popular music, other songs will transcend. That's my criteria for judging the best. Do they retread and regurgitate old tricks? Or do they create a new way of writing and creating that other artists desperately attempt to catch up to?