Posts Tagged ‘Pitchfork’

Don’t Worry About the Internet

Thursday, April 19th, 2012

In an interview with Pitchfork, Skrillex addresses all the hate he gets on the internet. He shows a lot more common sense about it than most commentators and pundits do (he shows a lot of common sense about most things, in fact):

I don’t care if people hate me. I mean, I get it. When you were young, you were like, “The Backstreet Boys are gay!” And kids are on computers now. I’ll post something on Facebook, and then, within two seconds, there are comments: “Fuck you dude… you suck… pussy… bitch… faggot… you ruined dubstep… emo.” But if you look at their profiles, they’re so young. To everyone else on the street, there’s this really elitist, big group of haters everywhere. But fine. No offense to young kids.

The point about the age of commenters is important, but more important is the point about them being on computers in the first place. As Robert Lane Greene, in an article about Facebook in Intelligent Life points out, the real difference social networking has made isn’t in what people say, but in how far and how quickly what they say is broadcast, and in the resultant desire to say something outrageous just to get more attention (the other difference that Greene doesn’t mention is the attempt to commercialize these ephemeral statements, but that’s a different matter). What’s said is little different than what has been said on playgrounds, in lunchrooms, in kid’s bedrooms and between cubicles for years. That doesn’t make it any less stupid, but once the world adjusts to it (i.e., once the the generation for whom it’s second nature takes over), it won’t be any more meaningful, either. In a lot of ways, the complaints aren’t much different than those made about rock and roll in the 50s. That didn’t destroy the world, either; or if it did, we haven’t noticed it yet.

Away from the hype cycle

Thursday, January 27th, 2011

Sean Adams from Drowned In Sound offers some thoughts on how the flood of new music and the 24/7 music news cycle has lead the site to stop following what might best be referred to as the Pitchfork model. I’m especially impressed by the idea that that sort of coverage is an insult not just to readers but to the artists themselves: “You’d [be] for forgiven for thinking every last morsel of rock’n’roll’s cadaver had been gnawed, yet every day another Forkcast exclusive is mass-mailed out and interview time with bands who’ve done a session for a BBC 6Music evening show is offered up – I have no idea anymore what I’d ask some band who I’ve never seen live and only heard two songs by, just feels insulting – to them, especially.”

In my ample recently unemployed days I’ve been thinking a lot about what to with this blog, what direction to take it in, how much time I can devote to it when it brings me no money at all (those Google ads are there for a reason, folks; one click a day, that’s all I ask), and lot’s of other things that are of no real interest to anyone but myself. But this piece gives me a hint. DiS is right, I think, to take themselves out of the hype stream, but at the same time to take advantage of it. There’s tons of information out there, and though in some ways it is overwhelming, it’s also bound to put you in contact with music and ideas you never considered before and that will lift your spirits, elevate your mind, and maybe even make the world a better place (it has happened, you know). Fishing in the hype stream without becoming a part of it, that’s the trick.

Two makes a trend, right?

Monday, October 18th, 2010

Two tweets in a row from Pitchfork make almost the exact same comment about two different albums.

Andrew Gaerig on A Sunny Day in Glasgow’s latest, Autumn, Again: “more concise and less wily than its predecessor”

Tom Breihan on Bay Area garage-poppers the Fresh & Onlys’ latest, Play It Strange: “more focused, easier to digest”

It’s a movement!

A couple of final kicks

Wednesday, December 16th, 2009

I’m about to take them off my RSS feed and my blog roll, but I did want to get one final kick in at the Maura-less Idolator. Two, actually. The first comes from Sasha Frere-Jones, who nailed the situation perfectly the other day when he said Maura had been replaced with “two iPhone apps that crash every hour.”

The other is in reaction to a post by the apps themselves. In a news piece on Nielsen Soundscan’s ranking of the best selling albums of the year and the decade, they make the usual comment about declining album sales, which they finish with “thanks in no small part to the advent of illegal downloading.” Now, I realize that as an all-pop-all-the-time site, they need to spend some time shilling for the major labels, but does that mean they have to be lap dogs for the RIAA, as well? Did they not notice how heavily most critical best of the decade lists are weighted toward the first few years of the oughts (Pitchfork’s top ten of the decade includes only one album made after 2004)? Albums stopped selling because more albums sucked, dimwits. I’ve long been amazed by the fact that the record industry, and therefore too many people who write about the record industry, refuses to make the connection between musical quality and sales. But that sort of thought is beyond the new management of Idolator—who are, after all, paid not to think.

So, goodbye Idolator. You’ve turned into that old house in the middle of the block that used to have really cool, creative people living in it, but is now full of crackheads. Let’s hope somebody bulldozes the place before the addiction spreads.