this show was so good. couldn't believe the number of dead fans in brooklyn. they nailed it too, the setlist would get thumbs up from any fan.
Whenever people don't get the grateful dead I chalk it up to a few things:
1. sobriety
2. never playing in a band, jamming, or an instrument for that matter. And I don't mean dicking around, I mean like go on stage at a bar and playing an 80 minute set, actually having the pressure of having to make people move.
3. south park-esque disdain for hippies // in the way people rag on hipsters today
4. or he/she is just an obnoxious music snob who can't like anything a friend's dad might enjoy
who gives a fuck about the grammys? poor author of this article: go get laid, or jerk off, or read a book--ain't enough time in life to waste it on writing critical essays about annual arbitrary asshole award anointments!
but if you gotta pay dat rent, I see you too.
The sampled laugh track induces chills.
It's weird, his theatrics are limited and therefor much more tolerable on a screen. When I saw him in concert last summer this theatrics seemed contrived and annoying. But who cares, his music is so on point.
My point is that, within Graves assumed artistic subgenre (typing this is making me realize how innane this whole conversation is, but we're too far gone!), there is a legacy of borderless expression--if Patti Smith wants to say n^gger that's her right. We can say we don't like it (which we have) but at the end of the day we cannot regulate her art. You've suggested a similar point in your comment, dansolo.
My concern is that Graves implicitly believes there is a parallel, equal or better, artistic universe where people cannot offend, where one is limited in what they can and cannot say. And yes, ideally this is a good idea--nobody wants hurt feelings. But think of all that is lost when we eliminate language--example, movie in theaters v movie on any Turner station.
I'm afraid if people like Graves take control of music opinion (she won't) then we will write off any artists who offend the majority--one that is moving towards an online community of people who like taking offense. The music listening majority is not America's majority (ie white people), it's the internet (upper middle class white kids?). And the internet loves loves loves to be offended and take up digital picket signs via hashtags and comment threads.
The whole digital protest idea beckons the question, why even bother, Graves? To some extent she is just accumulating digital currency: I wrote a pandering essay on a premier music website, said buzz words/themes, so like my band on facebook, hear our new single on spotify. I cannot help but think this was done, consciously or otherwise, with the thought of improving her own clout.
If she really cared or believed what she said, she would do something in the public physical sphere. If she did that I'd shake her hand and buy her a coffee. But until then it's just another voice in a sea of verbiage--like me!
Isn't Perfect Pussy a punk band? Legs McNeil, founder of Punk Magazine, said that, "Mass movements are so un-hip." And that liberation movements were, "the beginning of political correctness, which was just fascism to us. Real fascism. More rules."
So what is it? Maybe Meredith Graves should look to Patti Smith and her song "Rock N Roll N^gger". White punks used racist colloquialisms as artistic expression, I am not condoning such expression but it illustrates the point that it has always happened even in liberal minded groups like the punks.
I completely agree with blochead's sentiment, this zealous, hyper-analytic pandering is frustrating. She wants a "better music scene" but what would her image of a better music scene be exactly? Given the context of her argument it would be one where nobody said offensive things and could only be subversive if it did not offend a minority or suppressed socioeconomic group. Very punk.
Really glad to see the Cymbals Eat Guitars' "LOSE" get the recognition it deserves. What an awesome piece of music! Still trying to wrap my head around the whole thing, but it's right up there with "Lost in the Dream".
I realize these lists are impossible but not putting "Moondance" in the top 5 is criminal.
But then again, I'm moved comment on an arbitrary internet publication list, so there's that too.
Primitive and Past Lives and Navigator are perfect.
The album is another wonderful treat.
I hope they never listen to people who tell them to change their sound.
could we simply break this down by eras?
this is the impossible task.
I haven't made a list but its definitely got:
--Man in Me
--4th Time Around
--I Dreamed I Saw St. Augustine
--Simple Twist of Fate
--Going to Acapulco
The second half of New Slaves is truly magical.
The whole debate of Kanye's lyrics I think is irrelevant. I personally just take Kanye for the experience.
I think these lyrics are totally mediocre yet often pretty funny and wholly grotesque.
Also the second half of "New Slaves" is golden. The transcendent Kanye West moments are still here, they're just a little more difficult for the listener--and I believe this to be intentional on Kanye's part.
I still enjoy NPR and music journalism to find new music, call me old fashioned. Whenever I get an email from Spotify regarding "Artists You'll Love" I tend to know them, and like them or don't. There is no formula for what you may like, that's why radio's (npr) spontaneity awesome. I'll take 90.7 WFUV over spotify and google any day, 'Murica!
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