Monday, September 23, 2013

But How Was That?

Right before last year’s Iowa Republican caucus, just about everyone I know circulated this video on Facebook called “Iowa Nice,” in which a bearded-male-barista-type takes the viewer through a profane mini-history of the state’s economic, technological, and civil rights accomplishments.[1] The video resonated pretty strongly with my friends in Iowa—not so much because it wore its liberal politics on its sleeve, but because this bearded man’s straight-faced, fast-talking vulgarity was so starkly at odds with just about any recognizable Iowan subject. People in Iowa—they’re just not like that. And by juxtaposing its depictions of the state’s liberal strands with the implausibility of the man’s condescending, douchebaggy delivery, the video actually sketched a more powerful and ultimately familiar figure that exists in the man’s shadow: the polite, principled, Midwestern progressive. Iowa Nice.
It is a surprisingly common type in Iowa, as anyone might notice after visiting the state’s more liberal areas, including Ames, my hometown.[2] The truth is that, despite the earnestly contested nature of many social issues in Iowa (abortion, LGBT rights, etc.), there’s still a reserve to the way most of these issues are actually discussed that reminds me of the incredible boundedness—the inescapable fucking Midwesterness—in which the Iowa Nice progressivism occurs. And this runs deeper than an incidental intersection of personal demeanor and political leanings. Rather, in a state that’s a hotbed of political diversity, the inevitable negotiation of difference is often conducted in a startlingly straightforward and unironic way, an unassuming and slow-moving dance between tradition and reason, ideology and intuition. There are crazies there, obviously.[3] But for a place with so much actual disagreement, there’s also a strong aversion to conflict over political issues, which fosters this tentative, benefit-of-the-doubt respectfulness—the Niceness!—that, more than anything else I can think of, defines what it might mean to be Iowan.[4]


When I tell people I’m from Iowa I often get a condescending “So, how was that?” or a less loaded but still uncomfortable “That’s so interesting!” If we’re actually having this conversation, though, the Oh-Haha-I-Get-It-You’re-From-a-Kind-of-Rural-Place smile is at least more likely to disappear if I describe that: 1) yes, there are communities of very smart, progressive people in Iowa, and that 2) being nurtured by a great deal of these people while growing up there has been central to my own political consciousness. I get annoyed by the “how was that” question, but it’s actually an important one for outsiders to ask and for Iowans to answer, because trying to answer it honestly—defining and articulating the that—begs one to more precisely extract the essential principles a location fosters.
This project seems impossible to do right without facing the Nice stereotype. Of course, there are other, much more harmful associations I could be addressing (incestuous rednecks, hillbilly farmers, etc). But Niceness has the interesting distinction of being something that is often perceived as a positive on it’s face (“I drove through Iowa once and loved it—everyone was so nice!”), yet is conceptually very similar to other Iowan associations like simplicity, slowness, and a sort of ineptness with the modern world—all of which tend to be imagined pretty pejoratively. It manages to be both the subject of distant admiration and subtle ridicule. And it’s this apparent paradox that makes the that question so fascinating: What does it mean to be so Nice?


The Iowan caricatures, of course, don’t completely come out of nowhere. But one might most productively think of their truth as a pervasive sensibility that most Iowans do end up adopting to some extent; these things aren’t static. Take the religiosity for one: first you become aware that there’s an unusually high amount of Evangelical Christians in Iowa. You then internalize that schema and, over time, conceiving of religion through the language of My Relationship With God isn’t that weird a concept to think about, even if this relationship is virtually nonexistent in practice. This is partially why I’m fixated on the polite progressive archetype—it complicates three prominent elements of Midwestern stereotype that seem to me often conflated or underexplored: simplicity, single-mindedness (manifesting itself in racism, homophobia, and general conservatism), and, of course, the ubiquitous Niceness. The polite progressive unearths questions about how these overarching sensibilities, especially those of simplicity and reservedness, affect the development and relationships of just about everyone in the heartland. Specifically: in a state where they’ll inevitably be confronted with extreme right-wing rhetoric, how and why do Nice progressives stay so Nice?
Casual use of “nice” often implies a superficialness, as if it can only exist as a social lubricant, a means to the ultimate end of civility. But this breed of Capital-N-Nice seemed to operate as something much deeper in practice. For many, it seemed like Nice was about striving for the ideal of fluid communication in a world that was too large, too diverse, too secular; Nice imagined a place where the worst-case scenario would be agreeing to disagree, and everyone could always see where you’re coming from. Most importantly, it imagined a world where empathy was the glue to this communicative ideal—a world where empathy trumped ideology. Of course, it didn’t always work that way in practice. But the expectation was there and the aspiration was there. And as a result, the evolution of my views and the views of those around me happened in a dynamic environment where it was completely plausible for my friends’ parents to be liberal professors or fundamentalist preachers. While these groups may not have interacted every day, they were all expected to live with each other as humans—to attend the same community events, and to speak and be heard within the same ultra-intimate public sphere. They were expected to feel for each other because that what adults did.
An example: as a high school antiwar activist, I was most often thrown into fits of self-doubt about my own views when community members accused me of not supporting the troops and their brave decision to step up. These character-based arguments registered with me more strongly than their more cerebral counterpoints (about, say, the potential impact of a withdrawal on Iraq’s security) because it was through the lens of such personal appeals where my actions seemed to really hurt those who disagreed with me. Here, my imagined pragmatism was really just callousness, and it risked violating the social compact of our community. Though I think my counterpoint that “supporting the troops can also mean not wanting them to get killed” is still pretty straightforward and sound, it never quite felt like that was enough to counteract the guilt associated with my views. Like: how the hell could I not feel for those troops and their family? How could I?
So if the Niceness was inextricable from a regional brand of idealism and seeing the best in people, it’s a mindset I’ve nearly done a 180 on since leaving Iowa.[5] That is, it’s increasingly easier now to succumb to that instant gratification of wholly villanizing those with the most offensive views to me, as if I’ve now learned to assume they lack the same basic humanity I used to expect from others.[6] And I don’t think that this is simply an ancillary phenomenon to losing some of that Iowa Nice over the years; it’s inescapably central to that process. Niceness was a mandate for empathy.
In this context, it seems like no coincidence that the Iowa Nice video was catalyzed by the 2012 Republican caucus, which happened to also be the backdrop for one of the most spectacularly life-affirming visits to Iowa in my own life. Discourse around the caucuses is and was, of course, completely insane—this was the one that pathological gay-basher Rick Santorum won, after all. And while his supporters did seem like a bunch of crazy bigoted reactionaries, the outcome also underscored the real and formative influence of the values he appealed to. Simplicity, integrity, and moral directedness—these ideals genuinely touched most everyone in Iowa, even when packaged in pseudo-compassionate platitudes and millions of Super PAC dollars.
The point is that, while the majority of us still choose a different candidate in November, the way Santorum’s campaign packaged his values was still felt, and, more importantly, the expectation of externalizing the feelings associated with one’s values was still conspicuous in the public discourse. The caucus mythology imagines that the civic process can create a bond among citizens through rational discourse; not every caucusgoer’s candidate will win, but everyone will have had a chance to plead their case to the educated sensibilities of others.[7] To the extent this narrative actually reflects reality, such a bond seems more emotional than cognitive. That is, for every trembling, Obamacare-decrying Santorum supporter fretting about the direction of their community, you could find a Nice progressive who was equally confused, horrified, and energized by these local culture wars.  If these parties were mutually bound by the ideal of empathetic Niceness, then such a bond—solidified through treating each other as creatures who can and will feel emotions and can and will express those emotionsis pretty strong. The fear-mongering and hate speech that led so many Iowans to caucus for Santorum might have been petty and destructive as a methodology for political decisionmaking, but it was weirdly comforting in its expectation that I, as a fellow human, could empathize with their fears.


Perhaps the most vivid impression that the Iowa left on me was this, though: the realization that my own tools of rebellion against the Niceness—which I used pretty frequently—were still wholly bound as an Iowan. As was the case for many young people, it grated on me. Not just the conservatism, but the way that the Niceness packaged that conservatism and made it feel so much more OK than it feels now. I have a deep affinity for the Niceness now, but it’s a profoundly retroactive one; imagine living somewhere like that when you’re seventeen, opinionated and angry. Of course, it’s clear to me now that any form of resistance I tried to express would still fall into this same matrix of Midwestern Niceness that still holds extreme resonance.
Consider: the first time I got drunk I was sixteen, rafting down a slow-moving river on a homemade raft that some friends and I constructed out of discarded lumber and blueboard from local construction sites. You could apply some nasty rural stereotypes to the premise, but—to me at least—the social meaning was vastly different. It was a statement about our determination to act hedonistically and individually, despite the limited outlets that Ames had for teenagers to enjoy themselves without chemical inebriation. It was about carving out space to make our own decisions, and while in this case the decision was to fuck around and drink, the initiative it took to do so also drove me to be politically active, intellectually curious, and—ultimately and crucially—to leave Iowa.
Looking back now, its easy to understand that, to the extent that I still earnestly associate my own sense of testy independence with an act so unequivocally rural, I’m also reinscribing my identification and ties as an Iowan. If that river represented my escape from the oppressive Niceness, it’s appropriate that it eventually flowed back to the same town I was trying to escape.

But really, though, how was that?

I’ve used the raft anecdote to answer the real-life that question before, to varying degrees of success. And it would certainly be easy to dismiss the image as a bunch of stupid hicks getting drunk because there wasn’t much else to do, or—maybe if you’re really invested in the simplicity and Niceness lenses here—it could be like this fascinating distillation of rural adolescent vigor. These perceptions are entirely reasonable. But these slices of Midwestern life were actually the experiences through which people like me navigated that fraught space between rebelling against and embracing our own local sensibilities, and that feels anything but obvious or stereotypical. So I fixate on the hypothetical that question because it’s a hugely important one if we really care about what Niceness is and why moving away from it is so complicated, so simultaneously alienating and liberating.[8] My hope, though, consistent with the spirit of Midwestern optimism about communication, is that the question might actually spark a moment of stimulation—of realizing that growing up with engrained values that are then distorted and reproduced to the world as stereotypes actually creates real human drama for Midwestern people. And if our responses don’t evoke that drama right away, it’s possible we’re just quietly taking in your question, trying to feel where you’re coming from, remembering to be nice about it.







[1] Ending with “We’re nice, Fuckwad.”

[2] It’s worth mentioning that this entire essay is in relation to a fairly non-representative place within Iowa. But that’s almost the point: there are things that seem to be true across the state & region, even in the least representative areas.

[4] It seems important to point out that the effect of this political diversity could, theoretically, have swung the other way: that the only thing separating Iowa from being a collection of ideologically divided people de facto segregated by political leanings, stubbornly and bitterly siloed like a small-town emulation of the internet, is Iowans themselves.

[5] Especially now that I work for an organization whose main strategy for social change is aggressive litigation, which tends to frame actors and actions as straightforwardly just or unjust. I don’t mean this as a criticism of the ACLU, as my appreciation for impact litigation has gone up exponentially since working there. The point, though, is that the whole process is kind of un-Iowan.

[6] Like one time I dreamt that I kicked Mitch McConnell in the stomach and he just physically deflated.  Just like that.

[7] Caucusing doesn’t work like a normal primary. For Iowa Democrats, you are literally put in a room with all the other caucusgoers and stand together in physical groups based on which candidate you support. A designated captain for each group gives a short stump speech to the room, and you are then given a chance to realign to a different candidate if you so choose (or if your group has under 15% of the total crowd). After three rounds of this, the numbers are finally counted. Though apparently the Republican version is more of a straightforward primary process, Republicans have their own version of this collective decisionmaking process in the much lower-stakes Iowa Straw Poll. In the 2008 Democratic event, the team Kucinich captain ended his speech with “he may not be the best-looking candidate, but I promise you he’s the best one.”

[8] The more I think about it, “The Niceness” is actually a pretty valid answer to both the best and worst things about my time in Iowa.

Wednesday, March 6, 2013

Racial Stereotypes and Subprime Lending

See below for a post I did for work about this awful magazine cover. Borderline Sambo figures aside, I should note (as Ezra Klein much more articulately points out) that the article itself makes no real reference to the way that communities of color were targeted in the years leading up to the foreclosure crisis. The omission is especially notable given the undertone to the article itself, which manages to persistently ask whether the housing market's recovery is sustainable without addressing the substantive reasons why it might not be. In particular, the piece ends with a revealing quote:

DMB President Charley Freericks says his company is trying to be responsibly optimistic. "It's like any trauma," he says. "You forget when it gets good again."

When it comes to the rampant greed leading up to the foreclosure crisis, Mr. Freericks couldn't be more right.


Read the full post here




Monday, July 9, 2012

U2, Pitchfork, and the Politics of Recovered Sound

Awhile back I wrote a piece for Comments about how much I like U2 and what that might mean. Read it here:

http://commentsjournal.com/2012/03/13/u2-pitchfork-and-the-politics-of-recovered-sound-2/


Indy Throwback: Autumn Album Suggestions. Sorry About the 9-month Delay

The following is an article originally published in The Indy in November. Based on how much I've listened to Quicksand/Cradlesnakes since then, this shit is really not season-specific. Enjoy anyway:


            A few months back I was driving an old family car when I found a series of mix CDs, each labeled with a different date in November 2007. Turns out the three mixes were mostly dispatches from the Mountain Goats, Elliot Smith, and the Smashing Pumpkins—a group brought together by the lyrics’ explicit confrontations with pain. Lyrics like the Mountain Goats’ “I played video games in a drunken haze/I was seventeen years young/hurt my knuckles punching the machines/the taste of scotch rich on my tongue” are powerful because singer John Darnielle’s anger resonates with a variety of listeners’ diverse personal experiences, despite the particularity of Darnielle’s own.

            Four Novembers later, I’m still drawn to a particular type of telling, though perhaps a more nuanced one. The tension between the rainy temperature drops and gorgeous visual stimuli strongly recalls the coexistence of the melancholic and the cathartic in music. Which seems appropriate for a season defined by a sense of transition and change: these days, the space between a tragic story and a blissful one seem especially open to exploration. Accordingly, there seems to be a particular brand of discordant storytelling in the music I gravitate toward during autumn. Here are five album suggestions for the season, each ambivalently articulating conflict in their own way.

5. Invincible- Shapeshifters (2008).

            It would be tempting to locate Invincible in a lineage of message rappers, brought together by their socially conscious themes and avoidance of anger as a guiding principle. One imagines an Invincible fan also digging Talib Kweli, KRS-1, and other rappers who are conscious without being revolutionary.

            But that would miss what makes this album so special. Invincible covers Israeli/Palestinian relations, corporate greed, racism, sexism and gentrification, with impressive fluidity and cogency. The result, though her lyrical content is specific and substantive, is much more than just emotionally charged commentary. It’s a philosophy of witness and transformation. The title track begins “Music is not a mirror to reflect reality/it’s a hammer with which we shape it.” Her anger exists within a holistic framework of healing that has a systemic resonance. So it’s not even the overflowing content that’s important here, it’s the act of confession—an articulation of the challenges of community building as a way to break through them. In a season of change, what could make more sense?


4. Califone- Quicksand/Cradlesnakes (2003).

Americana. Freak Folk. Soul. Garage. Raspiness. Vibrations. Feedback. Breathing.

            Breathing. The album embodies it. The record is not a subject as much as a process, the way that sounds—whether guitar/banjo twangs, electric fuzz, or those ribbed fish instruments—trip over each other in seemingly endless rotation. There are crescendos but it isn’t clear where they begin or end. Califone’s genius is that many of their songs are series of memorable moments, yet the transitions to and from those moments are so seamless that they are hard to discern, even after dozens of listens. Like a decontextualized trip into another space triggered by a vaguely familiar smell, Califone’s music is a tribute to the power of the sensory. Their lyrics are heavily associative, with animal descriptions and metaphors often as a unifying trope. This is appropriate, since the music is more instinctive than rational. However, the album’s power lies not so much in the solutions it offers for living in a heavily sensory world, but in the beautiful, often non-sequitur musical possibilities of such a world. Conflicting sounds and styles are the air the keeps the album breathing.  


3. Television- Marquee Moon (1977).

            Television is generally separated from other NYC punk explosion bands by their complex guitar interplay, which synthesized blues and jazz influences to create something wholly original. And in the context of the 1977 punk scene, this was perhaps doubly subversive. But beyond that, they also transcended their peers by the way their stylistic experimentation complemented their lyrical content. Marquee Moon is mostly removed from the senses of swagger and rage that defined the late-70’s CBGB’s scene, instead focusing on alternating paranoia and hysterical joy. Opener “See No Evil” sets the album’s majestically bipolar tone by acknowledging the ridiculousness of what might, in less able hands, be a self-indulgent song about invincibility. Follow up “Venus” is structured like a ballad until Tom Verlaine and Richard Lloyd’s interspersed call-and-response exchanges question the narrator’s reliability just in time for the chorus. And then there’s the title track, which has to be the most economically creepy, suspenseful and ecstatic 10-minute rock song in history. Marquee Moon is then a punk album in the purest sense: by taking elements of classic (even arena) rock, punk, blues, and an indie sensibility that hadn’t even been invented yet, it remains Television’s lasting middle finger to all their influences and imitators.


2. Clipse- Hell Hath No Fury (2006).

Much is revealed in a rap album through its use of skits or interludes. The most traditionally ambitious ones use them as breathers, sometimes signaling tone changes or introducing standout tracks (see: Ghostface Killah, Fishscale,). But Hell Hath no Fury is different—the first song is a cyclical intro, boasting the Re-Up Gang label name with the looping line “we got it for cheap,” and coming full circle with the same samples at the end. But the second loop comes 3:42 later, after an explosion of Pusha T and Malice’s harrowing accounts of crack dealing, outlining the thrills, guilt and instability of hustling. The tactic of embedding stylistic bells and whistles within the album’s dystopian lyrical universe complicates the rappers’ considerable showmanship. The result is a distinct feeling of entrapment within the Virginia beach drug culture, and all its ecstasies and insecurities.

            But then, the entrapment is layered. Malice is Pusha’s older brother, and the album captures the sense of mutual responsibility for each other’s scarred consciences (Malice: “To my little brother Terrance who I love dearly so/If I ever had millions never would you sell blow”). These days Pusha is collaborating with members of Odd Future while Malice is writing a born-again memoir. I don’t know to what extent their life trajectories were diverging during the Hell Hath No Fury sessions, but the line between art and life seems especially fraught during the brother’s moments of alternating didacticism and bravado. Mid-album highlight “Hello New World” perhaps epitomizes this opposition, as Malice answers Pusha’s golden line “some people called it crack I called it diet Coke!” with his own “this information I must pass on to my homies/if hustling is a must be Sosa, not Tony.” Their tension never compromises their chemistry, though, instead making it even more breathtaking. Since their clashes exist in the same spacey, drugged out world that even the skits cannot escape, each intricate, scary piece of Hell Hath No Fury feels like a step on a downwardly spiraling staircase. Let’s be thankful the descent was so beautiful.


1. The Wrens- The Meadowlands (2003).

The Meadowlands is broadly an album about failure, about fighting the shame of being poor, single and depressed at 30. Which is a pretty brave statement on its own terms: these are not romantic problems to have, and attempt to first-person dramatize them can pretty immediately open one up to a world of scrutiny. Even braver, though, is that The Wrens’ don’t try to romanticize these problems, shying away from making their subjects proletariat heroes or wounded souls. Instead, they are more interested with the conflicts of finding a voice. The Meadowlands is about fighting the shame of not knowing how to articulate failure in a meaningful way. It’s about the profound directionlessness when the system is the problem rather than the individual who is embedded in it, and bettering your life can never be infused with a sense of vengeance because the problem is an unfeeling system that can’t experience vengeance. And, maybe after that, it’s about the shame of feeling like you need revenge in the first place.

             By focusing on failure, The Meadowlands transcends the need to imply a narrative conclusion to the narrators’ suffering. Instead, the emotional descriptiveness of The Meadowlands makes the passage of time seem downright irrelevant, despite the fact that aging is a recurring theme. Take the transition from second track “Happy” to third “She Sends Kisses. ” The former closes with singer Kevin Whelan shouting “Your lies to me/won’t win again/so don’t kid yourself/it’s better this way/it’s all back to me,” against the peak of a crescendo of feedback and shredding before a final fadeout riff. However, the immediately quiet and slower “She Sends Kisses” begins with “Ten tons against me and you’ve gone/I put your favorite records on/and sit around/it spins around/and you’re around again.”

Such a sequence is typical: the band’s perspective often switches between reminiscence, in-time narration, and cautiously optimistic fuck-you declarations with a seeming disregard for coherence, leaving only a swirling sense of working through. And if the album is as much about the pitfalls of testifying to one’s failures as it is the subjective experience of failure, the album’s most explicit moments of existential confusion come from “This Boy is Exhausted,” which is literally about the difficulties of writing the album itself, including the lines “I’m way past college/No ways out/No back doors not anymore/but then once in a while/we’ll play a show that makes it worthwhile.” The song became the band’s biggest hit, which shouldn’t be surprising—the Wrens’ biggest strength is their ability to be deeply self-conscious without losing a sense of urgency or sincerity.  So, The Meadowlands might be the perfect Autumn album because it’s so deeply and essentially processual: the bandmembers’ anguish of articulating their disappointments creates new disappointments to work through. The album is then its own solution. And if that leaves you wondering what happens in between, the answer is conflict. Gorgeous, swirling conflict.

Tuesday, February 21, 2012

The Bliss of Borrowed Nostalgia: My Favorite Albums of the '90s

In 2003’s “Losing my Edge”, LCD Soundsystem mastermind James Murphy complained of, “losing [his] edge to the art-school Brooklynites in little jackets, and borrowed nostalgia for the unremembered 80’s.” The object of the lyrics’ ridicule—appropriation of recently-old styles by young artists/fans who didn’t directly experience said styles’ cultural impact—is a pretty easy target. He’s essentially going after anyone who conflates their (counter)cultural sensibilities with a brand of exhibitionistic authenticity. “Authenticity” here is a tough idea to define, but easy to deconstruct—all Murphy has to do is keep saying “I was there,” (read: the rest of you weren’t) and suddenly a whole notion of Generation-Y coolness via cultural literacy starts to seem voyeuristic and silly. They weren’t there.

But what makes “Losing my Edge” a less straightforward (and smarter) song is that he calls out these “art-school Brooklynites” within a fantastically produced merger of house beats and punk riffs that thrive on their own nostalgic pull, evoking Neu!, Berlin-era David Bowie, and Suicide. Anyone born after 1980 who’s listening to “Losing My Edge” is thrust into the world of his or her dance/post-punk roots, consciously or not. And this stylistic borrowing is frequently noted as some of the most well-executed and innovative aspects of Murphy’s music. LCD Soundsystem then deeply appeals to the same folks it makes fun of—those same art-school Brooklynites. This ambivalence is deployed through the song’s in-jokes about record-collections-as-cultural-capital, an idea that those who have fretted over the terms of their own “credibility” would most strongly identify with. So, by operating within the same echochamber of anxieties that he shakes his curmudgeonly fist at, “Losing my Edge” succinctly articulated the ambivalence of loving diverse forms of artistic output, especially those created outside of one’s lived reference points.

This is all a way of saying: I fucking identify with these albums, even though they were recorded while I existed solely in single digits. A great part of this identification is tied up with my enormous gratitude to bands like Pavement and Built to Spill for inventing indie rock as I know it. And I don’t mean “invented” soundwise, though their sonic influence is clear. I mean: these groups formed the spine of an alternative discourse that the nation was just developing the technology to collectively write about, talk about, and enjoy. To the extent that my own conception of what “indie” means was formed by how media outlets categorize bands, rather than the actual, localized scenes they might grow out of, the 90’s were pretty formative, for better or worse. At the time, this phenomenon was intimately linked to emergence of powerhouse independent labels like Sub Pop, Matador, and Merge, which generated a more national, diverse and sustainable market for independent music, with the great aid of the internet.

So, if the 90’s were a time that the notion of a collective underground was forming, they were probably also the time that most directly influenced my taste as an emerging music geek in central Iowa. I may not have had a real music scene to call my own (though in hindsight maybe only I am to blame for this), but I did have the tools to seek out the musical forms I wanted, especially since these emergent indie labels’ lineups were so rich. And because that universe is so fragmented now, I imagine a certain charm to the idea of discovering Crooked Rain, Crooked Rain in 1994 that is free from some of the pretensions of discovering any single band or type of music today (e.g., today I would ask what does x blog or y music site have to say about it? Has the band’s time passed?). In my memory, that Crooked Rain discovery might have been something very pure and liberating in the 90’s, an experience altogether separate from media saturation, rather than intimately formed by it.

I realize this probably all seems crazy and impossibly presumptuous—I wasn’t there, so why would I have this projected identification onto the mind of someone making out to “Autumn Sweater” for the first time? I was 7 when that song came out, and 7-year olds shouldn’t be making out with anyone. Yes, my ideas about what this music meant to its listeners at the time are relatively impressionistic and arbitrary. But, that’s kind of the point: I don’t think the target audience of “Losing my Edge” is people who were actually there, or at least not exclusively. Rather, the song is likely to resonate with anyone who has felt their own experiences infringed upon by anyone with differing levels of closeness to that object of emotional valence. That’s why it’s so crucial that the song appeals to a younger generation: while Murphy might get legitimately pissed at seeing a pseudo-retro Joy Division T-shirt on some skinny young dude, he’s just as likely to know that this same guy could easily have a deeply-held matrix of associations with late ‘70’s post-punk bands. Perhaps the poor guy imagines that scene as a site of collective catharsis or alienation, or maybe he has a small identity crisis through wondering how much of a punk he’d have actually let himself be then. Maybe he listened to “Love Will Tear Us Apart” after his first breakup, or, god forbid, during his first hookup? This stuff is completely personal and completely social.

The point is that these associations—however constructed by the dominant tropes of public memory—are personally felt and have a concrete impact on how we hear all sorts of music. Sure, our reception to art will always be influenced by preexisting ideas about what a certain form or genre is supposed to do, or mean to a certain group of people, but if we accept this inevitability, then the levels of distance we have from all art (except maybe our own?) becomes problematic and inorganic. Under this logic, my identification with 90’s indie rock is a universal problem, not a historical one—a symptom of me not personally being an influential indie rock act from the 90’s.[1] And if we accept that premise, but then proceed to still call that association “inauthentic,” then wouldn’t we have to completely remove the notion of subjective pleasure from whatever the operative index of authenticity is?[2]

That option would seem pretty inauthentic to me, not to mention impossible. But then again, what do I know? This is all based off of borrowed nostalgia.

In any case, here’s some music you should check out from the ‘90s. Detailed individual blurbs forthcoming, hopefully in the near future--


[1] Is this any less problematic? That’s for another post.

[2] This doesn’t, of course mean that listeners should be completely unaware of the general valence or politics of a work—I’m thinking of Ronald Reagan’s apparent obliviousness to the fact that Springsteen’s “Born in the USA” was a protest song, that Springsteen is a liberal, etc. But there’s a difference between being aware of a song’s contextual origin and claiming some sort of intangible access to that contextual origin. It’s the latter that I think is basically a crapshoot.

_______________________



25. DJ Shadow- …Entroducing (1996)

24. Bob Dylan- Time Out of Mind (1997)

23. Guided by Voices- Alien Lanes (1995)

22. Raekwon- Only Built 4 Cuban Linx (1995)

21. Yo la Tengo- I Can Hear the Heart Beating as One (1997)

20. Portishead- Dummy (1994)

19. Built to Spill- Theres Nothing Wrong With Love (1994)

18. Guided by Voices- Bee Thousand (1994)

17. Built to Spill- Perfect From Now On (1997)

16. KMD- Mr. Hood (1991)

15. Modest Mouse- Lonesome Crowded West (1997)

14. GZA- Liquid Swords (1995)

13. Silver Jews- American Water (1998)

12. The Magnetic Fields- 69 Love Songs (1999)

11. Neutral Milk Hotel- In the Aeroplane Over the Sea (1998)

10. Pavement- Crooked Rain, Crooked Rain (1994)

9. A Tribe Called Quest- Midnight Mauraders (1993)

8. Outkast- Aquemeni (1998)

7. The Dismemberment Plan- Emergency & I (1999)

6. The Smashing Pumpkins- Siamese Dream (1993)

5. Pavement- Slanted and Enchanted (1992)

4. Radiohead- Ok Computer (1997)

3. The Olivia Tremor Control- Dusk at Cubist Castle (1996)

2. Nas- Illmatic (1994)

1. Pavement- Wowee Zowee (1995)

Thursday, August 25, 2011

August Playlist

Heeere it is: http://www.mediafire.com/?i0w9yenwevcraj1

proper tracklist:

1). Building Steam With a Grain of Salt- DJ Shadow
2). We Own the Sky- M83
3). Sleeper Hold- No Age
4). I'll Not Contain You- The Microphones
5). Let's Get it On- Marvin Gaye
6). Torn Green Velvet Eyes- The Magnetic Fields
7). Letter From Belgium- The Mountain Goats
8). Everyday People- Sly and the Family Stone
9). Incarcerated Scarfaces- Raekwon
10). Check the Rhime- A Tribe Called Quest
11). Bigmouth Strikes Again- The Smiths
12). Ascension Day- Talk Talk
13). I'm Finding it Harder to be a Gentleman Everyday- The White Stripes
14). Shadrach- The Beastie Boys
15). Troubles Will be Gone- The Tallest Man on Earth

Wednesday, July 20, 2011

5-album criteria

The AV Club's Steven Hyden evaluates artists who have released 5 consecutive great albums.

Great start, especially with the National shoutout; I'd also include the Clientele, from The Violet Hour to Minotaur