Aug 18, 2010



 • DOWNLOAD | DOUG E. FRESH & THE GET FRESH CREW “La-Di-Da-Di” The Show 12”, 1985
I’m spending this morning in research mode, working on an angle for a piece I’m writing about Snoop Dogg in the upcoming week. I’ve made a few seemingly sarcastic comments about how this is “kind of a big deal” to me, but to get a little bit earnest for a second, it kind of is.
I realize it probably looks strange that I’ve got magazines like Ego Trip and VIBE on my CV, and yet I can’t say that I’ve ever actually been paid to write a hip-hop feature story. On some level, I felt like I was always perceived as “the rock guy” who could write in a way that was sympathetic to urban readers; I was the guy who could interview Gwen Stefani about her ska and hip-hop forays or Rancid about their collaboration with Buju Banton, but not the guy who could talk to Pharrell Williams or Buju Banton about their rock excursions. To some extent, I resented that.
Because, hey! I grew up in Queens at a time when Run DMC released their first album and LL Cool J was an egocentric teenager. I took my first “girlfriend” — we were in fifth grade, but still! — to see Krush Groove. I wore Le Tigre polo shirts and bootleg Adidas sneakers because my family was too poor to afford real ones. I even started a little schoolyard hip-hop group with my friends Stephen and Lamont in 1985. It was the first style of music that really spoke to me, and truthfully, my engagement with hip-hop has both preceded and outlasted my active involvement with punk rock. Despite its ideological shortcomings, I still care about it.
Snoop covered Slick Rick’s “La-Di-Da-Di” on his first album, and that always struck me as a point of connection to his music. “La-Di-Da-Di” was something of a unifying reference point for anyone who grew up in the ’80s and had a schoolyard hip-hop group of their own; it was the one song we all knew by heart because we all had our own cover versions of it. There are no expensive instruments on this record, no professional studio tricks, and no sense that this is anything more than a street rap on vinyl. In other words, “La-Di-Da-Di” made it possible for young dreamers with limited resources to believe that making music was within our reach. It’s an anthem for kids who can’t afford real Adidas everywhere.

 
• DOWNLOAD | DOUG E. FRESH & THE GET FRESH CREW “La-Di-Da-Di” The Show 12”, 1985

I’m spending this morning in research mode, working on an angle for a piece I’m writing about Snoop Dogg in the upcoming week. I’ve made a few seemingly sarcastic comments about how this is “kind of a big deal” to me, but to get a little bit earnest for a second, it kind of is.

I realize it probably looks strange that I’ve got magazines like Ego Trip and VIBE on my CV, and yet I can’t say that I’ve ever actually been paid to write a hip-hop feature story. On some level, I felt like I was always perceived as “the rock guy” who could write in a way that was sympathetic to urban readers; I was the guy who could interview Gwen Stefani about her ska and hip-hop forays or Rancid about their collaboration with Buju Banton, but not the guy who could talk to Pharrell Williams or Buju Banton about their rock excursions. To some extent, I resented that.

Because, hey! I grew up in Queens at a time when Run DMC released their first album and LL Cool J was an egocentric teenager. I took my first “girlfriend” — we were in fifth grade, but still! — to see Krush Groove. I wore Le Tigre polo shirts and bootleg Adidas sneakers because my family was too poor to afford real ones. I even started a little schoolyard hip-hop group with my friends Stephen and Lamont in 1985. It was the first style of music that really spoke to me, and truthfully, my engagement with hip-hop has both preceded and outlasted my active involvement with punk rock. Despite its ideological shortcomings, I still care about it.

Snoop covered Slick Rick’s “La-Di-Da-Di” on his first album, and that always struck me as a point of connection to his music. “La-Di-Da-Di” was something of a unifying reference point for anyone who grew up in the ’80s and had a schoolyard hip-hop group of their own; it was the one song we all knew by heart because we all had our own cover versions of it. There are no expensive instruments on this record, no professional studio tricks, and no sense that this is anything more than a street rap on vinyl. In other words, “La-Di-Da-Di” made it possible for young dreamers with limited resources to believe that making music was within our reach. It’s an anthem for kids who can’t afford real Adidas everywhere.

11 NOTES

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Aug 16, 2010
To follow up on this morning’s Ground Zero Mosque freewrite, a shot of Ground Zero with a sentiment I’d hope most of us could agree on — at least in theory. It was erected by Glen E. Friedman and Russell Simmons in 2004, and this note from Glen really sums it all up for me:

We are New Yorkers who lived through the events on September 11th 2001. We are American citizens. Our messages honor the core values of communication, love, and understanding. It is every free thinking person’s duty to speak out against these bullies who force average citizens to forget about their own worth and pride in the society they helped to create.

To follow up on this morning’s Ground Zero Mosque freewrite, a shot of Ground Zero with a sentiment I’d hope most of us could agree on — at least in theory. It was erected by Glen E. Friedman and Russell Simmons in 2004, and this note from Glen really sums it all up for me:

We are New Yorkers who lived through the events on September 11th 2001. We are American citizens. Our messages honor the core values of communication, love, and understanding. It is every free thinking person’s duty to speak out against these bullies who force average citizens to forget about their own worth and pride in the society they helped to create.

9 NOTES

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Aug 16, 2010

The Sound of White Christian Privilege.

I don’t usually disagree with someone so much that I feel compelled to go toe-to-toe with them over Tumblr, but I just came across this “brief take on the mosque controversy in New York,” and it made me wanna freestyle. Because I cringed all the way through his argument, and I realized that this was the discourse of privilege in action:

As I see it, the World Trade Center was taken down by a fundamentalist Islamic group, in the name [of] Islam, and that’s the key. To put a mosque in the place of (or relatively near) what was the focal point of a religious attack in the name of that religion is almost like rewarding the attackers.  (And don’t you think that the Taliban, and Al-Quada would be celebrating this fact — “We took down their World Trade Center and get a mosque in its place.” Is there a better invitation to encourage further attacks?)

The first thing I want to talk about this line where he says the construction of a Ground Zero Mosque, as they call it, is like “rewarding the attackers.” The word “reward” is significant because it depicts a position of power: Only a person with money, for example, can reward a person without money. So when this writer — and Sarah Palin and Newt Gingrich — use similar rhetoric to campaign against this mosque, they are also implying that they have the power to “reward” someone with something that is already guaranteed by the Constitution. In their minds, they can.

We saw this position of power at work with Proposition 8, where one class of people’s “life, liberty, and pursuit of happiness” was put up to a popular vote. The oblivious nature of privilege means that there are thousands of people who could not understand why this was problematic — largely because their rights would never be put up to a popular vote. That’s the privilege.

Of course, there is also a discourse of fear being wielded in this argument — “Is there a better invitation to encourage further attacks?” — and that’s because fear is historically how the hegemony gets its way. It’s a note that would have only seemed odd in its omission.

There are hundreds and hundreds of places in New York City to build a mosque and a cultural center.  Is there any necessity to its placement near the WTC site? Of course not. And wouldn’t that placement be akin to building a booth for selling Confederate flags, and paraphenalia from the Confederacy at the place where Martin Luther King Jr. was assassinated? Doesn’t that involve the same kind of sensitivities?

The next brilliant ploy of privilege is group consensus. When you are in the majority, there are certain things you take for granted. Like, for example, how a Muslim place of worship becomes somehow analogous to the pro-slavery Confederate because we said so. But to answer his question, this does not involve “the same kind of sensitivities” at all. By even having this conversation, we are immediately Othering the Muslim victims of 9/11, and telling their families that their religion itself is beyond the pale of decency — according to so-called sensitive peace-loving and overwhelmingly white Christians everywhere.

The privilege of group consensus means that one group of people in America is able to tell another group of people that my ancient myth is better than your ancient myth with a self-imposed authority that allows them to decide what “decency” and “sensitivity” means in the first place.

The point of this post is to lift the veil and get to the heart of the matter, because no one is really saying it: The Ground Zero mosque debate is not about “sensitivity” as much as it is about the exertion of white Christian supremacy in America.

255 NOTES

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Aug 13, 2010
I called [Bon Iver’s Justin Vernon] and we ended up becoming like really good friends, playing basketball together everyday, and going into the studio. He’s similar to me, like where he just does shit just so people would be like, ‘Oh shit how did you do that? How did that happen?’ He’s just a really cool guy to be around.
Kanye West talks to Rolling Stone about his increasingly successful attempt at making his entire life read like a headline from The Onion. Also, I don’t care what Kanye says, Bon Iver does not play basketball.
12 NOTES

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Aug 13, 2010
[Flash 9 is required to listen to audio.]

youngmanhattanite:

Spent - “Excuse Me While I Drink Myself To Death”

Pointed jokes are wearing thin,
Portrait of the artist with his face punched in…

I’ve been revisiting Spent’s Songs of Drinking and Rebellion all week and damn is it timeless. Some of the best mid-90s indie rock out there in my opinion. If you like anything resembling Superchunk (they were on Merge after all) then you will dig this. So damn indie even MAURA didn’t know them. One MeFier says “Excuse Me While I Drink Myself To Death” is an example of a song that climaxes at the very end, which I suppose is true if you count the last third of a song the “very end.” Kicking myself I missed their reunion show in Brooklyn last year.

This is probably more of a keep-it-in-the-family reblog, but I was pretty happy to see YM giving some much-needed props to Spent. Full disclosure: The guy who sings this song is my boyfriend. But still.

Spent were actually around the New York scene at the same time as my old band, so even though we didn’t meet each other until 2005, John and I were both well aware of each other’s work. Texas is the Reason was, after all, totally into Superchunk — obviously! — so Merge Records artists were high on our band’s list of albums to high-five over. He still doesn’t believe this, but everyone I knew in 1996 owned a Spent record. Because of that fact, you could also say this is a see-I-told-you-so reblog.

All biases aside, Spent really were one of the great unheralded indie rock bands of the ’90s — and maybe one day I’ll make a list of the other ones everyone seems to have forgotten. (In a just world, Seam would really be a bigger deal than Unrest.) I will say this though: Missing the reunion shows for and around XX Merge is definitely worth kicking yourself over.

22 NOTES

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Aug 12, 2010



 • DOWNLOAD | MOBIUS BAND ”I Just Turned 18” The Loving Sounds of Static, 2005
Exhibit A: Last weekend, Dipset MC Jim Jones showed up at Death By Audio in Williamsburg, Brooklyn, to see Das Racist and Snakes Say Hisss. He arrived with Roc-A-Fella Records co-founder Damon Dash in tow. No, really. They watched the entire show and then at the end of the night — shortly before the cops showed up — Jones grabbed the mic for a Snakes Say Hisss collaboration. More unsettling than that: It was good.
Exhibit B: I was coming home on the subway last night when a song I couldn’t recognize came on. I was listening to an iPod Shuffle at the time, so there was no way to know what it is. The song sounded vaguely electronic, so my first assumption was that it was a deep cut on a Morr Music compilation. But the voice sounded too familiar, and when the guitars kicked in, I started to think it might be … something from the new Switchfoot album. When I finally had the chance to investigate, I realized it was an old Mobius Band track on Ghostly International. More unsettling than that: He does kind of sound like the dude from Switchfoot.
Findings of Fact: Holding on to any one genre at this junction in music history is pointless. One man’s Dipset is another man’s DIY punk show. One man’s Mobius Band is another man’s Switchfoot. It wasn’t always this way.

 
• DOWNLOAD | MOBIUS BAND ”I Just Turned 18” The Loving Sounds of Static, 2005

Exhibit A: Last weekend, Dipset MC Jim Jones showed up at Death By Audio in Williamsburg, Brooklyn, to see Das Racist and Snakes Say Hisss. He arrived with Roc-A-Fella Records co-founder Damon Dash in tow. No, really. They watched the entire show and then at the end of the night — shortly before the cops showed up — Jones grabbed the mic for a Snakes Say Hisss collaboration. More unsettling than that: It was good.

Exhibit B: I was coming home on the subway last night when a song I couldn’t recognize came on. I was listening to an iPod Shuffle at the time, so there was no way to know what it is. The song sounded vaguely electronic, so my first assumption was that it was a deep cut on a Morr Music compilation. But the voice sounded too familiar, and when the guitars kicked in, I started to think it might be … something from the new Switchfoot album. When I finally had the chance to investigate, I realized it was an old Mobius Band track on Ghostly International. More unsettling than that: He does kind of sound like the dude from Switchfoot.

Findings of Fact: Holding on to any one genre at this junction in music history is pointless. One man’s Dipset is another man’s DIY punk show. One man’s Mobius Band is another man’s Switchfoot. It wasn’t always this way.

8 NOTES

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Aug 9, 2010

stuckintransit asked: What do you think of the current hardcore scene?

I probably sat here for ten minutes looking at this question and thinking, “I don’t know!”

Honestly, I haven’t had a ton of hardcore cred in a long time, and I stopped going to shows for fun many, many years ago. But when I think about the potential I saw in the hardcore scene when I first discovered it in 1986 — and when I realize that was twenty-four years ago — I can’t help but feel like, to some extent, I was given a post-dated check that I’ll never be able to cash.

So all I have are more questions.

Like, how is it that even though 7 Seconds sang “Not Just Boys Fun” in 1984, the hardcore scene is still a totally male-dominated subculture? Or, if hardcore is about revolution and change, why is it that the scene is totally unwilling to give up on rote traditions like slamdancing and stage-diving? And why was I always the only non-white kid singing along to “Break Down The Walls” at Youth of Today shows in 1988? What is it about hardcore that — in spite of its literally hundreds of anti-racist songs and fanzines and T-shirtsstill utterly fails to attract more people of color today? Also, is it weird that hardcore kids spend hundreds of dollars on 25-year-old T-shirts when they could be spending that money on things that really matter in the world? Is it about mining for nostalgia or forward-thinking?

The hardcore scene influenced my life in profound ways, and I will always owe an amazing debt to it. But it’s flawed, and I wouldn’t be paying that debt by pretending that it’s not. As for my own personal experience — and this might be an unpopular thing to say — I’d argue that the scene itself is something like the Buddhist parable of the raft: We build a raft to cross a river, but if we continue to carry that raft on our backs once we reach the shore, it can only weigh us down. If we’re going to move forward, we need to abandon the raft, and leave it for the next person.

13 NOTES

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Aug 8, 2010

sayyes asked: Which interview you've done for an article has affected you the most?

I know that it feels like I should talk about a positive experience, but actually, the first experience that comes to mind was also the worst: It was the time I flew down to Washington, D.C. to write a Tool cover story for Alternative Press in 1997.

I’d love to tell you the whole story — and one day, I will write this all down — but for now, I’ll distill it into this synopsis: I have never met any one group of people so collectively deluded about their own so-called artistry as I did that day. Their naive sense of entitlement was absolutely staggering, and at the end of the day, I called my editor and told him that I would not be writing this piece after all. He’d have to send someone else to get treated like a moron, I told him, because that’s not what I tell people I do for a living.

It ultimately affected me because, at this point in my life, I realize this was a major missed opportunity. The story was there, but I was too caught up in my anger to see it: It was the best 4,000-word argument for humility that I never wrote.

14 NOTES

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Aug 8, 2010
Aug 6, 2010



 • DOWNLOAD | ELLIOTT SMITH ”I Can’t Answer You Anymore” 3 Titres Inedits, 2000
Today would have been Elliott Smith’s 41st birthday. I’ve written about him extensively before — here and here are a good place to start — so I won’t go much further than that. But I just moved into a new apartment and I have yet to find a place to hang this portrait, which I love, so I figured I’d write something about the day it was taken.
Joshua Kessler took this photo at Elliott’s apartment in Park Slope, Brooklyn, right off Fifth Avenue, as part of a feature story I was writing for Alternative Press. I showed up at his place right when they began to shoot, and I remember being greeted as if I were an old friend — which was bizarre because Elliott and I had only met once before, in a dark nightclub, two years prior to that.
When we finally sat down to do the interview, it was almost effortless. He asked as much about me as I did about him, and I felt like it was only fair that I answer him. I wish I still had that tape.
Later that night, we both went to see Pulp — separately. But after running into each other at the show, Elliott insisted that I take his phone number and call him so we could hang out. I always think about this night because I never actually used that scrap of paper. On some level, I respected Elliott too much to be his “friend”; the scale was tipped, and I didn’t mind not being much more than an occasionally friendly face.
But I’ve questioned that so-called wisdom since he died. We got to know each other a little bit over the next couple of years, and I really can’t stress enough how much fun he was to be around. Elliott Smith wasn’t this maudlin character with sad violins following his every move. He was brilliant and funny and kind and ridiculously smart, and I still regret never having called him — the night he tried to be my friend, on the day he sat for this portrait.

 
• DOWNLOAD | ELLIOTT SMITH ”I Can’t Answer You Anymore” 3 Titres Inedits, 2000

Today would have been Elliott Smith’s 41st birthday. I’ve written about him extensively before — here and here are a good place to start — so I won’t go much further than that. But I just moved into a new apartment and I have yet to find a place to hang this portrait, which I love, so I figured I’d write something about the day it was taken.

Joshua Kessler took this photo at Elliott’s apartment in Park Slope, Brooklyn, right off Fifth Avenue, as part of a feature story I was writing for Alternative Press. I showed up at his place right when they began to shoot, and I remember being greeted as if I were an old friend — which was bizarre because Elliott and I had only met once before, in a dark nightclub, two years prior to that.

When we finally sat down to do the interview, it was almost effortless. He asked as much about me as I did about him, and I felt like it was only fair that I answer him. I wish I still had that tape.

Later that night, we both went to see Pulp — separately. But after running into each other at the show, Elliott insisted that I take his phone number and call him so we could hang out. I always think about this night because I never actually used that scrap of paper. On some level, I respected Elliott too much to be his “friend”; the scale was tipped, and I didn’t mind not being much more than an occasionally friendly face.

But I’ve questioned that so-called wisdom since he died. We got to know each other a little bit over the next couple of years, and I really can’t stress enough how much fun he was to be around. Elliott Smith wasn’t this maudlin character with sad violins following his every move. He was brilliant and funny and kind and ridiculously smart, and I still regret never having called him — the night he tried to be my friend, on the day he sat for this portrait.

16 NOTES

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