He's not making the argument that he knows better than they do. He's making the argument that Google and Facebook make money by exploiting content without supporting the creators. You get Facebook and YouTube for free because your eyeballs are the product. Google and Facebook aren't spending a third of their budget creating content like record labels, TV and Film networks. They don't pay the same rates radio stations pay. They exploit the arts without supporting the arts. Google is a parasite and would still show Isis beheading videos on YouTube for advertising dollars if they were allowed.
Remember this: http://www.stereogum.com/1166392/debating-the-grizzly-bear-ny-mag-story-and-making-a-living-making-music/top-stories/
I wish I only had to work 1 out of every 5 years. I don't begrudge them their life choices but I certainly don't want to read their complaints about their "struggles.'
Nope, there's the little blonde girl in the DOPE hat at the beginning. Check that box. This production is not as great as the 90's Timbaland production, which was truly groundbreaking and bizarre for it's time. Loops of a baby cooing, cicadas, moans - minimalist shit that was almost as abstract as it was catchy.
The Radio Soulwax videos are incredible. When their app was active and regularly updated, it was the greatest art installation app in existence. Most of the videos are still viewable on Vimeo.
It's the song of a woman keening over her lost daughter and it is excellent. Beatles fans have been angry and humorless about Yoko forever and although she is a serious artist, she also employs humor - the two are not mutually exclusive. The Redd Kross side project Tater Totz incited a crowd of Beatles fans with this song at BeatleFest in 1988. The hilarious video is on YouTube. http://www.youtube.com/watch?v=X8kmcjGtS2s
For all the money spent carpet bombing the world with Reflektor promotions, it sold less than The Suburbs. So, it seems major labels are still able to spend piles of money which is then deducted from the artist's earnings.
I read the Stereogum Turntable interview where Ed discusses getting together to start recording the album after not seeing each other for 8 months. Most folks don't take 8 month breaks every 2 years. Grizzly Bear doesn't have a crazy touring schedule. I sympathize with them - while wishing I could take 8 month breaks, travel, record and write songs in Mexico. There are some perks. I'm sure having a house in NYC would be perkier. Is listening to their album on MOG acceptable if I only like it and don't love it?
I think Sea Change became popular 5 years later, when the cover and some songs were included on every Mac in Apple stores. I'd love to see the SoundScan figures for sales-by-year. The initial release was met with disappointment but I think the appreciation has deservedly grown over the years.
I largely agree with this but find my own enjoyment of their current work fades with age - my age and their age. Does "twee" work when the band is middle aged?
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