hey, this is super random but are you still sharing your CRJ thesis? I've been meaning to email you for it but the one you gave way back when doesn't work any more.
Fair enough. I'd counterargue that journalistic publications' coverage choices emphasize what is important. It literally gives extra air and space to Kanye's globally public downward spiral, space that might be better served on a less sensationalistic topic more in keeping with what I perceive to be the site's values based on the articles and viewpoints they champion.
But as I said, reasonable people can disagree and I appreciate you respectfully discussing it with me! The number of comments and engagement on this article certainly demonstrate the reason for posting.
And just to briefly address the "scapegoating" comment, which is a totally valid way to feel: I have a personal (and now financial) stake in this community, which is why I'm commenting and challenging the choices of those who run it.
Scott & Co. can obviously do whatever they want, but I am not coming here in bad faith to make them feel bad about what they post. I'm using the beginning of what's sure to be a series of coverage choices to ask them to reconsider what they want this site's place in the discourse to be. Because it is a choice.
I'm not going to argue with every person in this thread, but you seem reasonable so:
When you report on something, you amplify it. Good journalism is about deciding what's worth that space and attention, as well as when to leave something alone. Stereogum does a lot of great journalism, and my hope as a past and future monetary contributor to this site is that they focus on the aspects of being an independently-owned publication that doesn't require monetizing what countless other music media conglomerates have evidently decided to monetize. To quote a journalist I look up to, "just once I wish media would show the power of silence."
And yes: in my opinion, there's a difference between meaningless social media drama and the cocktail of personal health and political turmoil that is Kanye West's apparent 2020 campaign for president. Since "stories" like this are bound to continue due to their profitability, I think it's worth a discussion both for the outlets who originally do the "interview "(if you can count sycophantically or *ironically* publishing the verbatim inflammatory quotes of a hypothetical presidential candidate without meaningfully challenging its place in the public discourse as an "interview"... remind you of anything?) and those that decide to amplify that content. Reasonable people can disagree.
And that goes for you too Stereogum. This shit is bigger than clicks and pageviews. As someone who just enthusiastically gave you guys money to promote the stellar independent music journalism and discovery routinely done on this site, this kind of news post choice is super disappointing.
Advice from someone who's been there: stop getting your hopes up and it gets easier.
From my perspective, good intentions aren't enough for people with lots of power. Our society is so heavily weighted towards people in Kanye's position, who get to say what they want without having to actually do the work to interrogate their own positions. When you're poor and say things from a perspective of "I don't really know things but here's what I think", everyone ignores you. Forbes should have done the same here.
I disagree with your Gus Dapperton assessment. His debut album last year “Where Polly People Go To Read” is full of fun 80s indebted indie pop music. Check out the song “Coax & Botany”!
I was at this show and the moment you called out is one of my favorite live moments that I've ever seen in person. Seen Phoebe 6+ times and the way she nailed that note makes my arm hairs stand up. Definitely watch the whole thing -- I love how much pure happiness is present in the room.
Yeah, I'm a little sad that Glasshouse didn't get more support. It works remarkably well as her turn towards more straightforward pop, while still maintaining her eccentricities in a way that makes the sound uniquely her own. I always say that if Adele had released the song "Alone" it would have topped the charts for a month. Hell, she even got Pat Buchanan of the Blue Nile on basically his only solo feature of last decade!
I was fortunate enough to attend the financially difficult tour in Philly and while it was fantastic (we screamed with joy all night), Jessie was cracking jokes about how difficult it was to be away from family at an under-attended weeknight performance. Glad she's getting more recognition between this and the podcast. Her music is excellent and she deserves the attention.
It's the kind of idea that sounds like it would work in the abstract, until you realize that there are literally thousands of things needed to accomplish it and maybe he should spend his vast resources in a more directly beneficial way.
"What do you mean when you nod your head yes but you want to say no?"
Man's first redemption single was about indecisiveness and consent, though it's a bit incomplete coming from him because it doesn't really take into account the power imbalance from him being Justin Bieber.
It's good! Lyrics are unfathomably wonderful, especially related to the last two decades of work.
Bit of a slog, although I love "Murder Most Foul" so that's not the answer. Only 2 minutes shorter than Blonde on Blonde with none of the electricity to keep it moving.
I've seen her around 7-8 times at this point in various rooms, but I was so interested in seeing how she translated opening for The 1975 at MSG. Those fans are insane and there's definitely overlap, but 20,000 people is so different from a thousand and her music doesn't have the same levels of bombastic grandiosity to draw in neophytes. Here's hoping they'll reschedule in 2021.
You mentioned every song except "Shut It Down", which is a stone cold great 7-minute, 4-part slow jam duet with The-Dream that somehow works despite lyrics like:
"Yeah, baby you finer than your fine cousin, and your cousin fine
But she don't have my heart beating double time."
and
"You just shut it down girl. Who told the cops where the party was?"
IN A ROW
The cool thing about “3rd Planet” is the way it literally sounds like a genesis, unfolding from that simple guitar line and single light cymbal tap into this flowering, questioning piece that feels like it has its own internal momentum through Brock’s rhythm and the different musical flourishes. To me, it’s one of the purest musical representations of the Big Bang.
Agreed. That's why you take a page from Trump's book and come up with a slogan that doesn't immediately turn off centrists:
Law And Order
Drain The Swamp
Make America Great Again
hell, even Build A Wall
These are all phrases that anyone with a functioning brain or a minor grasp of history will know are bigoted and problematic. But they are broad and focused enough to create a permission structure for the folks who somewhat agree with him and dogwhistle at the extreme members of his party.
By the way, I don't think Trump is particularly great at this. There are a number of phrases in the graveyard ("Transition To Greatness" sounds idiotic; "Big League" was misinterpreted by his own campaign as "bigly"). He just speaks in more short and repetitive sentences than his opponents (due to his brain rot) and thus tries to make these kinds of rallying cries pop off with more frequency.
I wish he didn’t release so many songs in advance, took some of the wind out of my sails to realize I already knew 2/3 of the record. But yeah it’s such a pristine piece of work.
Also, what a remarkable statement to put out on the day of releasing your years-in-the-making debut album. It’s obvious from his songwriting how empathetic he is, but I got choked up by the selflessness and utter connectedness displayed towards his fellow man.
https://twitter.com/westermanmusic/status/1268930155101261825?s=20
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