Showing posts with label The Rolling Stone Magazine. Show all posts
Showing posts with label The Rolling Stone Magazine. Show all posts

Monday, March 15, 2010

Lady Gaga Makes Me Appreciate My Playlists Even More



I was talking to a relatively new friend the other day. Lady Gaga came up in conversation. I didn't do the bringing up, by the way. My answer, and granted, I had not had breakfast yet, was, "yeah, I don't do Lady Gaga, so I don't know. Here, look at my playlists."

I do not care for Lady Gaga's kind of music. In all candor, I find it unfocused, simplistic, and, all in all, a good example of a one trick pony. Her sound is not the kind that oozes inspiration to me. I very much doubt I'll have a great writing idea by listening to "Poker Face". However, play some Doors or Led Zeppelin and, voila, heavens' choirs descend upon the living room and I can write. Rock n' roll can and does inspire. When done right and when relying mostly on music itself rather than odd stage shenanigans and bizarre costumes.

But I can appreciate that many like Gaga's music and as the high-frequency adage points out, de gustibus non est disputandum. And what about those outfits? Could someone explain to me why her getups qualify as art? I've followed the aesthetics of high fashion for years. I read up on it daily for a few minutes. I read as much as I can on the academic text of fashion but nowhere do I find any trace of Gaga that makes sense. Some call it high art. Hmm. Maybe there is something about high art that I am completely missing. I very much doubt it but it could be true.

But I don't think I can be serious about music without researching the über-popular music of the time. And that I did. I have looked at Gaga's album Fame. I've looked at the music videos. And, nope, I still don't get it. I played her album at the gym and while her "Bad Romance" track helped me keep my pace as I was running 7.0 on the treadmill. After a few minutes I felt my face twitching which apparently happens when something either vexes or annoys me. I slowed down and picked Postal Service to finish my run. It worked better that way.

The thing is, if one is truly interested in music, one is bound to have some element of Gaga penetrate one's area of music focus. My Rolling Stone magazine came in the mail this week and I actually thought to myself, 'I bet there's more stuff in there praising the talent that is Gaga.' I want artists to do well as I was born a lover of art. However, I just don't see the point of overexposing a performer to the point of saturation. Or, more importantly, to the point of ignoring other solid artists. I understand how supply and demand works and that if the people want Gaga, then Gaga shall they have. But, how can we know what other music is out there if it does not get any attention?

Music awareness has much to do with visibility and the less visible an artist, the harder it is for music lovers to know about him/her. Granted, not all are lucky to have the kind of sociality that allows them to get informed re: new music. I am very lucky in this regard. My musician friends play a huge role in my music education as I get countless texts, emails, conversations informing me of new music. However, I also do much research on new music. I read all the relevant music publications, read the twitter feeds, and discuss new music with my in-the-know friends. I have to do my homework, too. Music, to me, is no laughing matter. It's not a hobby or a luxury but rather a necessity. Music informs all I do in life as only a small number of hours a week are spent sans music.

But back to the premise of this post. Aesthetics may exacerbate one's talent but it's not a substitute for talent. I somehow doubt Beethoven lost any sleep over his wardrobe the night before a show. I am not saying Gaga is devoid of talent. She writes music and she certainly knows how to be relevant or rather how to sell relevance. But to me she makes sense in an off-Broadway type of production where Burlesque is the theme du jour. Some like burlesque but if you don't, you won't have to face it every time you want to read up on new art and performances.

And what's with the overuse of the term 'genius.' Surely, not everyone can be a genius. Genius is another word that gets misused in the vernacular. A good, albeit general text to consult re: the concept of 'genius' might be the following book, The Genius in All of Us: Why Everything We've Been Told About Genetics, Talent, and IQ Is Wrong by David Shenk.

So, as I enjoy the new Spring sun while leafing through the new Rolling Stone magazine that has Shaun White on it, I think of our collective, shifting values in music. What's hot in music is transient and perhaps that's a good thing. It keeps all artists on their toes. It forces them to check their own cultural relevance constantly. And human genius rarely moves faster than the collective tastes of music lovers. Well, unless it's Beethoven or Verdi and it's been a while since we had artists like that.

And, in conclusion, do read the new Rolling Stone cover article on Shaun White, the über-talented snowboarder and skater. Among other things, he is a lover of old G'nR, Led Zeppelin, and good ol' rock. Another reason to like well well, I suppose.




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graph per rolling stone magazine

Sunday, February 28, 2010

Assorted Links: Albums, Oscar Film, and Stereotypes


Assorted links:

1) Is "Cellar door" the most beautiful phrase in the English language? More here. Tip of the hat to MR for the pointer.

2) Good article about the psychological effects of touching on the NY Times. A bit says: "“We think that humans build relationships precisely for this reason, to distribute problem solving across brains,” said James A. Coan, a a psychologist at the University of Virginia. “We are wired to literally share the processing load, and this is the signal we’re getting when we receive support through touch.” More here.

3) Rolling Stone's magazine top 100 albums of the decade.

4) I agree, for the most part, with NY Times' Charles M. Blow's take on the film Precious and Tyler Perry's bizarre fascination with problematic female characters. I find Tyler Perry's films too cliché-rich and a bit too self-mythologizing generally. Hence, when I read this NY Times bit on the Oscars and the generously nominated Lee Daniels' film Precious, I found myself agreeing with the premise almost fully. A bit says:

"Then came Tyler Perry with his inexplicable fascination with this cliché, and his almost single-handed revival of it.

In the last five years, he has featured a crack-addicted black mother who leaves her children in two of his films and on his very popular sitcom, “House of Payne.” (In one of the films, the character is referred to but never seen.) In another film, a main character is a drug-addicted prostitute. And in yet another, a mother leaves her family for the drug dealer.

It should be noted that “Precious” is “co-presented” by Perry.

Let it go, Mr. Perry. These never-ending portrayals perpetuate the modern mythology that little has changed when much has. Even for Whitney."

I second the sentiment. Exactly, Mr. Perry, let it go. Hire some good writers and come up with new story lines. And, could an actual female actor play your Madea character instead of you? I mean, we are way past Shakespearean times. Women may play female characters on the stage nowadays.





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graph per ny times

Monday, July 27, 2009

Assorted Links

1) A linguist's efforts to preserve a language.

2) On HBO's phenomenal Allan Ball-created show True Blood. I was glad to find out that Ball has been asked to create a third season. My personal favorite, Alexander Skarsgård, is the true gem of the second season, I find. Read the Rolling Stone bit on this new show here.

3) A review of Heath Ledger's last film.

4) Amy Adams of the new new film Julie/Julia talks food and butter.

5) A very good piece on Juliette Lewis. A bit of the featured interview says:
"What does the idea of rebellion mean to you?
Rebellion, to me, is about finding out where you feel safe, and then stepping outside of that space. I never got into acting to be safe. I get the most out of myself right before I start a project, when I’m scared to death. That’s the revolt, that’s the rebellion."
Read it all here.





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Tuesday, December 23, 2008

Brandon Flowers Scrutinized Again


I've already outed myself as a bona fide fan of The Killers. Most of my playlists have at least one song from their albums and just today I gave "Uncle Johnny" a listen. And the past six years have been richer musically on account of my fondness for the band and my renewed appreciation for and continued visitation of the solid artists who have informed them artistically. Whether you like their music or not, The Killers reveal as much about the 'scene' and culture of indie rock by virtue of how they perform, what they wear, and who they like musically as they do via their own art.

The Rolling Stone has a bit about frontman Brandon Flowers and his penchant for not always expressing rightly what he feels, per them.
Frankly, I don't understand why Flowers' speech is worthy of such continued scrutiny. As an artist he needs to express himself. Some journalists are more fascinated by his eye for couture and his personal religious beliefs than they are about his influence on contemporary rock and his own art. To me it makes full sense that Flowers would be the kind of rocker he is. Like basically everyone else, he is multilayered and influenced by various things. Maybe my experiential knowledge of the West has something to do with my unequivocal acceptance of the band's music and Flowers' lyrics. Their music, after all, feels much more authentic to me when I play it out West.

At the end of yet another year, I am grateful to the The Killers' many contributions to my music experience. And to Brandon Flowers' ear and eye for the right indie, synth-pop, rock sounds and 'mad' couture.

Here are two snippets from the piece. The entire article is here.

"Brandon Flowers is having trouble explaining himself. Maybe it's because nothing about him adds up: a couture-wearing synth-pop fanatic who wants to be Bruce Springsteen; a devout Mormon who sings in a decadent Las Vegas rock band. Maybe it's because when Flowers talks, he tends to get in trouble — like when he bragged that Sam's Town, the previous album from his band, the Killers, was "one of the best albums in the last 20 years" before anyone heard it."
...

"What does he mean by the line that provides his album title, "I want the new day and age," in the song "Neon Tiger"? "It means, I want a new day and age — I think that things could be better," Flowers says, then pauses for nearly 10 seconds, looking down at the table. "I don't feel like I'm allowed to say some of the things that I feel." Why? "I'm too handsome."






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Sunday, October 26, 2008

Jon Savage, Kurt Cobain: New Tempting Titles




This merits an entry of its own.
I rarely develop in interest in reading new titles after just a quick look, but these books begged for attention.

The first interest was engendered when I was reading the news on the German newspaper Zeit newspaper. The bit that jumped out said: "Der Leser stellt fest, dass es matrixartige Konstellationen zwischen Jung und Alt schon vor seiner eigenen Lebenszeit gab. Dass der Teenager keine Erfindung des Rock'n'Roll ist." [Emphasis is my own.] That, and the fact that Jon Savage is the author.
Those of you who read German, can find the concise, but oh-so-good review here.

The second title concerns Kurt Cobain. And I always have time for Cobain books. Even though the pile is impossible now, I'll get to it.

Those of you interested in photojournalism and anything Cobain-related, will definitely be tempted to purchase Charles Cross' new books Cobain Unseen.

The RS review points out that:

"Cobain Unseen (Little, Brown), journalist Charles R. Cross was granted unprecedented access to Kurt Cobain's archives. "It was like a James Bond movie," Cross says of the high-tech Seattle bunker. "But once you got past security, all his possessions were just in boxes." With these artifacts, put into storage following Cobain's 1994 suicide, Cross pieced together a remarkably revealing visual history of Cobain's private life — from his childhood drawings to snapshots (taken by Courtney Love) of Cobain and daughter Frances Bean. "Kurt created work that has such mystery that we still can't capture its essence," Cross says. "It's that intangible thing that made him a star."
....
The last picture, (the one with Cobain's hand in front of the camera), is one of Cobain's favorite. Even though he was photographed thousands of times, he despised looking at pictures of himself for the most part. This one, however, he used to carry with him.
graphs per rs and zeit

Sunday, September 28, 2008

Music Info



Anticipated projects include Keane and The Killers.

I will be reviewing the much-anticipated album by Keane, Perfect Symmetry, during the second week of October.

Here is a list of all the new Fall releases.

The Killers are also scheduled to release their third, full album in November. Read more about the RS coverage of their recent pursuits here.
graph per rs

Monday, August 4, 2008

Bono Speaks Out Re: "Boy"


I like U2.
I enjoy Bono. A lot. I think he's perhaps one of the most influential musicians of contemporary times. I don't just think he is musically superior, though. That's a given. I find his rhetoric always spot-on, informed, and culturally sensitive. And that is what marks Bono as culturally, not only musically, relevant.
Hence, I was happy to read his commentary on U2's brilliant album "Boy." What I really enjoyed was his altruistic tone. He speaks highly, and justifiably so, of his band mate The Edge. One does not detect an ego or any crippling inferiority complex in his words.
Here is a bit:
"But the star of the show is THE EDGE some guitar credit must be shared with the groups that helped shape us, people like PINK FLOYD, PIL and TELEVISION… guitar players like STUART ADAMSON VINNIE REILLY etc but there is something happening here that is truly special…EDGEs genuine genius developing on the blank and bleached
photographic paper…. avoiding all the obvious blues scales that blind every other guitar player that ever heard LED ZEPPELIN …THE EDGE finds some new colours for the spectrum of rock. Colours he now owns … owning a colour, wow .. imagine owning the colour yellow like VAN GOGH… EDGE owns, well im not exactly sure what colours they are… indigo or violet or crimson?… but you sense an emotional colour temperature that is unique to him… its his palette we’re painting from. he’s following the jazzmen’s maxim to “own your own tone and you will become contagious ” and as a result you can hear him show up in lots of rooms hes not in, isn’t that right…?"
Excellent, excellent post.
Read more here.
graph per rs