i keep falling behind and missing huge swaths of my dashboard but i guess some of us talked about tranxio’s anon? i keep thinking about posting about it but i think missvoltairine and others have sort of covered it in so many words, and anyway i don’t want to explain what in my reading gives it away as concern-trolling because then i’m just helping the anon be less obvious next time
the point is that its stated aim is the opposite of its actual aim
original url http://www.geocities.com/RainForest/2587/
last modified 1998-12-01 21:33:47
also i initially had ”I Been a Bad, Bad Girl (Prisoner Blues)” by Ozella Jones as my “Bad” song but that was because of an id3 tag mistake
i decided that Absurd record (Facta Loquuntur) sucks so I deleted it. Now my first “Dark” song is ”Dark Star of the Dazzling Sky (aka Dark Star Blues)” by Acid Mothers Temple and the Melting Paraiso UFO
Happy: ”Happy New Year” ABBA
Love: “Choosey Lover (Old School/New School)” Aaliyah
Hate: ”I Hate Milk” Air Miami
Light: "Lovelight" ABBA
Dark: ”Deep Dark Forest” Absurd
Good: ”As Good As New” ABBA
Bad: "Bad Weekend" Art Brut
Smile: "Smiles" Atomic Babies
Cry: ”Should I Laugh or Cry” ABBA
Girl: "A Girl Like You" Aaliyah
Boy: ”Girl/Boy Song” Aphex Twin
(Source: sydneyleighh, via jalylah)
It’s not a bad thing if their prior-generation editors can check their shit and make sure they don’t ever fall victim to their own relative lack of historical context. But I feel like their editors aren’t clued-in subculture veterans who were going to similar shows and following similar scenes 20 years ago. Instead, their editors seem like the decadent dregs of the era that produced 80s/90s Rolling Stone grads, and who therefore only really have context for the mainstream of 20 years ago. So these zine kids find themselves reinventing the wheel instead of placing current acts into a broader context, and the people who check over their work don’t know they’re doing it any more than they do. (The implication is that they should have ME as an editor. Hey Pitchfork, you hiring?)
I mean, not to put Mark(?) on blast but this is the crux of it for me. The ways in which economic inequality translates into artistic opportunity per se have long since stopped shocking me, but Jenn Pelly’s unexamined representation of such serves only to (unintentionally) make Frankie Cosmos look terrible. (Frankly, were I Greta Kline, I’d be pissed!) And the Frank O’Hara comparison is only the most egregious example of meaningless effusiveness throughout the profile.
My beau and I watched this episode last night and he was like “BEST BAHN MI??” And I was all, “They had bahn mi stands in LOUISIANA in 1995!?” I feel so betrayed.
Louisiana has had a major Vietnamese population since the fall of Saigon in 1975, mostly in the shrimping industry. Some Hmong, Laotian, and Cambodian too. So there’s gonna be pho and banh mi.
And long before then, don’t forget the Louisiana specialty of Chinese-African-American origin, Yaka Mein.
whoa martha whoa
no sorry fuck this i love snacks
- “Greta Kline's affinity for the winking amateurism of K Records comes sharply into focus as I enter the Greenwich Village apartment she shares with her boyfriend and bandmate”
- “Kline’s spiritual forebear Frank O’Hara”
- “her 17-minute proper debut album”
- "Kline grew up in an artistic Manhattan household, the child of actors Kevin Kline and Phoebe Cates. She was home-schooled for most of high school, and spent nights exploring New York by way of underground rock shows.”
- "In September of 2012, Kline moved into her current apartment (owned by a relative) for its proximity to New York University, where she was set to start studying poetry."
- ”’I’m very academic,’ Kline says. ‘I made the Dean’s List.’”
- P4K: “The cosmos is infinite and limitless, and your discography can feel pretty expansive, too. Were you trying to imply a connection?”
- "When I was younger, my view of New York was really wide-eyed and excited. I’ve lived here all my life, but when I was 15 my parents were like, ‘Yeah, you can go on the subway by yourself, you can do whatever.’ Everyday I would get on the train and go somewhere to just walk around. My brother and I were like, ‘New York is so big! There are so many places we can go!’"
- “You meet a lot of people in New York who are different than you, and have different stories, so I see everyone as super individual. I feel like I can be infinitely inspired because New York is huge. There’s always a new street I can go to, or a billion new people who I haven’t met that I could write about. New York is very humbling.”
- “I like that people sometimes ask if I’m from the suburbs. It’s a way better vibe over there; everyone is purely nice, there’s nothing fake going on. I like to take on the folkie attitude. People’s music.”
- “I consider myself punk, too. Obviously my music doesn’t sound punk, but I see it as a punk action.”
- “I started listening to Beat Happening and Calvin Johnson when I was 13 and freaked out. It changed my life! That was definitely a catalyst, where I thought: “I can make music!” I liked the idea that you don’t have to be super well-trained to make great art. I read their chapter in Our Band Could Be Your Life and learned about how they played on yogurt cans and I loved how they had this weird culture where they would wear pajamas and play with yo-yos.”
- hold on because i want to stress this again: “I read … Our Band Could Be Your Life”
- “It’s funny how that’s the thing a lot of people are latching onto: ‘She has 45 albums!’ I feel like only 12 or 15 of them are great, and it’s the most recent ones.”
- P4K: “When you think about Frankie Cosmos, do you consider the focus to be more on individual songs and albums, or your discography as a whole?”
- “My parents really want me to take a Transcendental Meditation class.”
- P4K: “A line that stood out to me on the album was, ‘All my friends are depressed.’ Why are all of your friends depressed?”
- “All of my friends went to college and were depressed because they hated it. I was also feeling a little jealous of Aaron’s friends. They go out and drink and hang out.”
- “The song is just a story, but I felt like I related to it.”
- "I’d be like, ‘This song is about how I don’t want to go to Brown because it’s really far away so I wrote this depressing song.’"
- P4K, immediately after that: “Your music reflects so much inner sadness.”
- “I mean, I’m not super-sad. That stuff is kind of tongue-in-cheek. Even if it’s not uplifting, I think that for young sad girls on the internet to hear another sad girl their own age being really productive and making songs is a positive influence. Instead of just being depressed, do something with that depression. If anything, I’m hoping that I can inspire people to do that. I hope people hear it and realize that writing music is kind of easy. Or that taking your sadness and turning it into a beautiful song is worthwhile.”
additional things: mentioning o’hara’s lunch poems without at any point recognizing that o’hara’s writing them on his lunch break meant that, even considering o’hara’s jobs included “new school professor” and “art curator,” they were still jobs and he had to work them to eat, and so his observing everyday life of course had to take place in the periods where he himself was mundane, circumstances literally unavailable to her; the bit where she played a show with calvin johnson which makes me nervous more than anything else; the whole question about the “my dad is a fireman” thing, especially the part where she’s like, “oh, that must be so sad,” as if (god damn it) kids whose parents have average jobs can’t start from pride and work forward from that; a rich person getting a p4k rising; aggggh fuck you fuck you fuck you everybody fuck you.