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I saw someone else blaming Pitchfork for some strange reason.

One of the problems with any hypothesis that blames Pitchfork over their help curating is that you’re believing ATP is telling the truth when they say the event was cancelled due to ticket sales. Remember that ATP posted 2 weeks ago that there were only 300 weekend passes left for sale. I’m not sure anyone should believe anything ATP says right now. In the past, the reason they cancel or change dates is because they lost so much money from the last event they can’t get above water to pull off the next one (at which point they announce a future event and use those ticket sales to spend the minimum needed in bills to pay for the current one). My best bet would be ATP went to Primavera and Pitchfork (and who knows else) for a bailout after losing money on ATP Iceland, and when they refused ATP had to cancel.

I was at ATP Asbury & the botched NYC one and I agree with you – compared to what passes for most American festivals ATP is insanely superior but… how can they go forward? I can never plan international travel to an ATP event after what’s gone on the last few years.

If they do the festival world a favor and just close shop, maybe something else can come along in their place? Basilica Soundscape in Hudson, for example, could maybe one day grow to what ATP is? Who knows? I just know from this point forward ATP is useless to me no matter how good the lineups and attitude and setup because I’d have to be crazy to trust them – and it’s not about the festival ticket, it’s the airfare and hotel and time cleared from work…

I disagree, at this point the festival landscape would be much better off without them. Time for someone new to replace them and that won’t happen until they’ve disappeared for good.

How could anyone book plane tickets for Iceland, or anywhere, in light of ATP’s behavior the last few years?

I think he was implying it was irresponsible to to have a festival for a form of music where everyone going and listening takes molly, a drug known for overheating your body and dehydrating you, in a city where the weather is hitting 105 degrees on average. Having typed that, I acknowledge that EDC is almost entirely at night, when the temperatures are more fit for human living (and partying).

But, I’ve thought similar things about EDC and not temperatures but drug laws. Las Vegas and Nevada drug laws are draconian. Simple possession is a felony that can lead to actual prison time (as well as a life-destroying felony conviction). Having a festival based around drugs there is like a honeytrap for ruining the lives of your customers. And, like Petty, I did think that the festival organizers in this case care more about money than the well being of their attendees.

I’m not sure what’s “troubling” about the allegations – I breezed through them in the article summaries when this first happened and it seems like normal stuff for being around this particular label. I mean, if any of this counts as sexual harassment in this work environment, then so would basically reading any of the lyrics by any of these artists. I mean, there has to be some context for the workplace one is in – I had a friend that worked in porn publishing, silly gifts and dildos as bookends or paperweights were the norm – I’m not certain how different this label would be from any other adult entertainment workplace – I mean, the fact that Kid Rock accepted the glass dildo seems more proof to me that it wasn’t anything connoting sexual violence directed at her, but a silly gift.

Maybe in the future this will teach them to spend real money and hire a real publicist?

The attacks on Richardson seem to be part of a new Puritanism disguising itself as feminism/women’s rights.

 0Posted on Jun 20th | re: The Gaslight Anthem Announce New Album Get Hurt (6 comments)

I’m not *that* angry! just annoyed. And you’re right – I hadn’t bothered looking at albums before ’59 Sound. I was introduced to the band via a label showcase for the release of ’59 Sound and read the pr the music press was copy/pasting as “punk” and… Yeah it’s annoying to me when wannabe stadium rock gets labelled punk and music writers who should use a little independent thought keep using the term even many years and albums after it would be remotely applicable.

 -1Posted on Jun 16th | re: Let's Shortlist The Song Of The Summer 2014 (286 comments)

die antwoord – pitbull terrier

 -4Posted on Jun 16th | re: The Gaslight Anthem Announce New Album Get Hurt (6 comments)

Why did you ever call them a punk band? I mean, I know it’s what their publicist told you to call them in the press materials, but what about ’59 Sound was remotely punk to you? And I loved ’59 Sound as a great, Springsteen inspired album. But there was nothing remotely punk about it or anything that has followed. They’ve always been wanna-be stadium rock – which I’m not insulting; they’re good at it. But music blogs willingly calling them punk just because their label/publicity machine told you to for “authenticity” always got under my skin a little.

 0Posted on Jun 12th | re: Lana Del Rey: "I Wish I Was Dead Already" (53 comments)

There’s no reason to think it’s true. Her career started with a whole lot of lying to the press so there’s no reason to think her or her publicity machine has changed.