Holy crap, what happened to The Awl?
KIDMAN 4 LYFE
Not as bad as "God's Away on Business" but still quite good.
So. Um. Libertarians/Neocons who in a fit of hyperbolic rage promised if Obamacare passed you'd leave this country. Are you. Um. Gonna make good on that?
Not so much acerbic as it is acidic. What. Did Lowery's smuggy yet dorbz "kids, lawn, vacate" put Ms. Bustillos in a Hostel [no oof] mood? Also, could you please refrain from comparing Picasso and Patti and Pope* to teh poprox? Overuse of the consecutive fifth is banned in art music, and I'm about 99.9% certain Cracker reaaaaaalllly like consecutive fifths just like Little Dragon and Nicki Minaj and Riff Raff(!) and pretty much every other pop artist ever. Drawing these imaginary parallels defiles real art. Please recognize that there is a distinction, even if you don't believe one is superior.
A few totally-not 'existential' questions to chew and spit at pedestrians on the walkway:
Does Mr. Lowery believe Ms. White would have contributed (significantly) more monies to the music industry had she been prevented from "stealing" (ugh) her 11,000 songs? That is, would she share the same passion and love for music that would later compel her to join on as intern at NPR had she not been given the freedom to seek out and find music that bonded to her individually, rather than choosing which particular expeller-pressed auto-tuned copypasta flavor-of-the-day she hated less (yanno, a student's budget seriously obstructs blind $15 purchases, and is the budget-bin really a good place to foster an identity?). What if she decided Willow Smith wasn't really her cup and switched over to Wes Anderson?
Which leads me to the whole reason I'm here...:
Why has Mr. Lowery (intentionally?) avoided the real bête noire of the major label artist? The internet has wrestled the dictation of public consumption out of the hands of studio execs (c'mon, we've all seen Merchants of Cool, right? right?!) and returned it to where pop came from in the first place: the public itself. Suddenly UMG, Warner and Virgin are finding themselves less and less relevant in the free-distribution model the internet (both legally and illegally) provides. Furthermore, it has heightened competition to unparalleled and, yes, "fair" levels, where innovation--not stagnation--is prized above all else if it's to catch the public's eye. And that's what scares the current regime the most.
Ugh. Sorry for all the bile; I actually threw-up earlier, so I guess it's not entirely unexpected. I'll bet the nausea was brought on by something I ate, chewed or possibly red [oof].
*If you'd mentioned Tolstoy you'd have crippled my argument with his "What Is Art?" ... Sorta.
P.S. I own Dorkismo and it's great. So. At least there's that. <2
This article was appallingly awful, packed with countless misconceptions about hip hop's matriculations, its subject matters and evolution. She then topped off her gussied up fan rant by stating that 808's is a "factually" beautiful album based on a handful of reviews.
There is no statistical measure for art; therefore, it's all opinion; therefore, any credibility you had as a serious journalist fell out the window with that assertion; therefore, go back to Deadspin and please don't return.