Post by iamthehorn on Sept 9, 2012 14:30:26 GMT -5
NYT has a piece about establishing safety standards for outdoor stages:
He and a handful of like-minded tour managers have also begun taking unilateral action. Linkin Park and a few other bands, among them Heart and Phish, are now demanding guarantees in their contracts that promoters build stages to stringent engineering standards and draw up emergency plans, spelling out who is responsible for shutting down a show.
These tours have begun hiring meteorologists as well. Last month Linkin Park became the first rock band to have its touring operation receive the National Weather Service’s StormReady seal of approval after the band hired a consulting company, Weather Decision Technologies, to provide warnings on weather hazards. The band has also drawn up thorough plans for weather emergencies, federal officials said. “We are really hoping people will follow their lead,” said Richard Smith, a warning-coordination meteorologist with the National Weather Service.
For those of you not following the recent path of former Dresden Dolls frontwoman Amanda Palmer, a little primer: The latest iteration of her solo career has been funded almost entirely by her fans, who banded together to raise a whopping $1.2 million on Kickstarter so that she could record her new album, Theatre Is Evil. She's continued asking her fans for favors, crowd-sourcing a string quartet and a horn section for her current tour. She's asking professional string and horn players in each city to volunteer in each city, and will compensate them in beer and hugs. (In an interview with The New York Times, Palmer said that she couldn't afford to pay the musicians, since it would cost her $35,000.)
Palmer has experienced a backlash after these requests, including some particularly biting comments from underground music jack-of-all-trades Steve Albini. He writes on the message board for his studio Electrical Audio:
I have no fundamental problem with either asking your fans to pay you to make your record or go on tour or play for free in your band or gather at a mud pit downstate and sell meth and blowjobs to each other. I wouldn't stoop to doing any of them myself, but horses for courses. The reason I don't appeal to other people in this manner is that all those things can easily pay for themselves, and I value self-sufficiency and independence, even (or especially) from an audience.
If your position is that you aren't able to figure out how to do that, that you are forced by your ignorance into pleading for donations and charity work, you are then publicly admitting you are an idiot, and demonstrably not as good at your profession as Jandek, Moondog, GG Allin, every band ever to go on tour without a slush fund or the kids who play on buckets downtown.
Pretty much everybody on earth has a threshold for how much to indulge an idiot who doesn't know how to conduct herself, and I think Ms Palmer has found her audience's threshold.
Post by iamthehorn on Dec 19, 2012 11:35:26 GMT -5
Today's installment of "Slate's Utterly Horrendous Music Coverage"
There’s a lot to be said about hipsters’ “suspicious” newfound love for R&B. One aspect that concerns me is the implicitly racist conceit that suggests that R&B only becomes compelling when it takes on an indie-rock aesthetic (a form clearly dominated by whites, though not exclusively). That is to say, for some, contemporary R&B becomes worthy of attention only when it sounds self-consciously artsy, experimental, inwardly focused (“looking for myself”), psychedelic, or trippy, often drained of mirth. Given R&B’s long, rich, and diverse stylistic history, this “progressive R&B” supposition is in many ways a racial perversion of the form itself.
Don’t get me wrong: Channel Orange is one of the boldest and most languorous albums of the year, and I’m encouraged by the widespread critical acceptance of gifted artists like Miguel and Bruno Mars (not to mention hip-hop MCs Kendrick Lamar, Nas, Future, Himanshu, and other men of color who have dominated the best-of lists in 2012). It’s telling, though, that in the midst of the prog R&B celebration, there’s less love to go around for black women in pop. Ke$ha’s brassy "Die Young" will do, but it’s no more impressive than the sly, sexy debut by Elle Varner, Perfectly Imperfect. (I really dig the witty humor of “Soundproof Room.”)
I'd say what it's about but I can't tell if it's about the blandness of the Coachella lineup, the sameness of all festivals these days, Phoenix's underseved status as a headliner or why Postal Service made me cry when I was in my 30s. As usual, Hyden throws out a ton of hypotheses but doesn't close the deal. Although I give Hyden props - Waxahatchee and Kurt Vile are two of his favorite albums this year.
Longish reads =/= stuff to read when you're pooping
Because then you spend too much time in the bathroom, and people begin to wonder if you're ok.
Not to mention that embarrassing walk when you come out because you've leaned your elbows on your thighs too long and minimum one leg is rock solid asleep - muy awkward at work.
Embrace it and be proud. It's like being sore from a good work out. You were able to have a full bathroom break and get paid for doing so. Those red spots from where the elbows rested for too long on the leg are battle scars from fully enjoying an article for too long. You sir have won a work battle.