I don't really have a dog in this race but I think it's important to point out why that argument is problematic. It's more or less the same as asking graphic designers to do work on spec. When a professional-level craftsman does professional-level work for free -- regardless of the ways in which it will or could eventually benefit him individually -- it devalues the work of all other professional-level craftspeople.
Sorry, was totally kidding about that -- obviously I don't expect Gaiman to finance Palmer's music. I'm a HUGE (like HUGE) Gaiman fan when he works in graphic formats but I've consistently found his novels to be disappointing.
There's been rumors of Apple discontinuing the Classic for years. Thank god they haven't, but it's hardly a foregone conclusion that they'll continue to produce it much longer.
There's obviously some degree of concern or else they wouldn't bother with any redesign elements. Of course I'm sure they don't anticipate reversing the trend, but keeping the iPod brand vital and visible has definite value to them. The Classic is still the best product they make for the music-focused audience but it hasn't been updated in what four years (and then only to expand storage from 140GB to 160GB or something)? It's frustrating because Apple's major leaps in the market started with the iPod, and the iPod started as a device for serious music lovers whose MP3 libraries had started to evolve past their CD libraries. There's definitely real advances to be made to portable music-listening devices -- FLAC support, seriously increased storage capacity, advanced archiving systems, better interface with Spotify, Bandcamp, Pandora, etc., maybe even satellite radio capabilities. But Apple is courting the gamer and casual markets. Again, that's where the money is, so they should by all means chase it -- but I do hope SOMEONE recognizes the hole here and fills it. At the moment, all my tech is Apple: MacBooks at work and home, iPad, iPhone, iPod. I'm dedicated to the brand. But if Sony (for example) snuck in with the Walkman2K13 and gave me everything I wanted in a music-listening device, I'd have to in this case give them my business.
I should probably disclose that I'm actually a big fan of Apple products to the point of being a low-level Apple snob. But I'm deeply frustrated by the way in which they have marginalized music on their music-playing devices. (It reminds me very much, in fact, of the way MTV marginalized music as a part of their programming as they saw increased revenues in more structured programs.) Realistically the profit margin in MP3 players is dwindling rapidly, but as a music lover with a vast library, I want a product that suits my needs (which Apple seems to have lost interest in producing). Can't blame 'em for focusing on the bottom line, I just hope a suitable alternative eventually finds its way to market.
I didn't disregard it, honestly: If this thing had been 15 deep, you would have seen songs from Figure 8 and Basement. There are some BEAUTIFUL songs on those albums. But I honestly didn't think any of them were better than the 10 I ended up writing about.
I had it in an earlier draft, actually, but was forced to cut it. If I had more space, I would have included it for sure (not that I needed to write any more about Elliott Smith than I did here). Great song.
True, although it's still a second language for the majority of the country. Per Wiki:
English is the native tongue for only one-third of all Singaporeans, with roughly a third of all Singaporean Chinese, a quarter of all Singaporean Malays and half of all Singaporean Indians speaking it as their native tongue. Twenty percent of Singaporeans, or one out of every five, is unable to read or write in English.
Really? I assumed this sort of blatant insanity (ostensibly on the NRA's behalf) would only serve to weaken their cause. Who would want to align themselves with this? Maybe I'm off-base though.
And I don't say that to be dismissive of the song! It's just an unusual dichotomy. To be clear (I guess I wasn't?), I love "The Universal"! I've spent a great deal of time listening to and thinking about the song, and the same goes for Blur's entire catalog.
I phrased it poorly -- the song (it seems to me) is wrapped in an Orwellian conceit, which extends to the video (Clockwork Orange), the single artwork (2001), and the general tone (which sounds, to me, something like: "the antiseptic and lifeless future is nigh and you are doing nothing to combat it"). The first line of the song is: "This is the next century." Is he referring to the 20th century (ie, the century in which the song was released) or the 21st century (which would mean he was writing in a future tense)? To me, the lyric has always seemed a bit removed from its delivery for this very reason. Also, in its context, the lyric, "It really, really, really could happen," sounds (again, to me) like a kind of limp prophesy -- i.e., this dystopian future really, really, really could await you -- but the way he sings it (as I wrote) is: "soaring, yearning, optimistic, and terrified, the closest musical analogue to sky-diving I can imagine." It's an intensely passionate song, but the lyric feels kind of condescending to me.
Yes, I should say, as the writer who covered this for Stereogum, that I personally found his reaction to be fairly benign. To me the story is not his reaction onstage but his choice to to take a break from music following the confrontation. I don't know the guy but I like his music and I detest hecklers. Whatever the cause, it sounds like he's going through a rough time and I sincerely hope he's doing OK.
Indeed, it is their third album. This has been amended in the text; thanks for the heads up! (While I'm here, I'll make the unpopular suggestion that Farm is actually their best...)
I think they were kidding about that -- implying that one day Sufjan Stevens will be filling these bins the same way Collective Soul is today.
I think it's hilarious that they get enough Love Battery trade-ins that they have to turn them away. Did that band even sell more than 5,000 copies of any record? (Not to disparage Love Battery, who were great.)
I named "Little James" because it's a Liam song, and I was sort of rhetorically suggesting that he recognizes that his songs aren't as good as Noel's songs. But I think he's grown as a writer since then; Beady Eye is definitely his best songwriting IMO.
Edward, I don't think I was hard on "Breath" at all! I did say "SOLAT" is the better song, but aside from that, I think I was pretty complimentary!
I was hard on "Dyslexic Heart," I admit. I dunno man. I'm a pretty big Westerberg fan and to me this is really his nadir. I feel like so much of what he does in "Dyslexic Heart" showcases all his weaknesses and plays down (or just ignores) all his strengths. It's probably not a bad song, objectively speaking, but for Paul Westerberg, I think it's pretty weak.
I just think it sounds dated, whereas Nevermind and Dirt (and some of the punkier Sub Pop stuff) still sound incredibly current and sharp (to my ear). Didn't mean to disparage Ten -- it's obviously one of the most important recordings from that time period.
It was originally recorded with Krusen but the Singles version was re-recorded with Abruzzese. The Krusen version was released on the expanded Ten reissue.
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