Monday, September 23, 2013
But How Was That?
Wednesday, March 6, 2013
Racial Stereotypes and Subprime Lending
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
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
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.
[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.
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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)
