“Um, no.” is live!
Cr4Bdbgs
Rolling Albums of the Year
Skyecaptain
That cleaning strength which rehabilitates the innocence of the genuine feelings.
God help us all.
Sheryl Crow, particularly through her early-decade work with John Shanks, has been an important figure in teen confessional (roughly (Vol. 1) Michelle Branch—Pink/Perry—Avril —> (Vol. 2) Ashlee/Kelly/Lindsay —> (Vol. 3) P!nk mk 2-Katy-…who else am I forgetting in the new guard, aside from Taylor Swift who seems to have shifted the mold a bit [i.e. arguably Vol. 4-ish]?), but it has nothing to do with Crow’s “personal” qualities — it has to do with what her guitars sound like. As far as I can tell, she’s a minor sonic forbear, not a (particularly notable) direct influence of the 00’s confessional boom.
The key album is the one she did with Shanks, C’mon C’mon in which you get (among other things) a few Ashlee signifiers before there was an Ashlee — the Beatle-juice [RIP Brad Delp] into stacked guitar chorus of “Over You,” f’rinstance. Haven’t listened to this whole album, but Shanks’s guitars are all over it — and his signature “violent lilt.” (The clearest proto-Ashlee is Lucy Woodward, also produced by Shanks with some co-writing by Shelly Peiken; should be noted that Lucy never did anything 1/5 as good as Ashlee, but hey gotta start somewheres.)
But obviously the more important Shanks forbear is Michelle Branch’s “Everywhere,” which is really about as close to ground zero as you’re going to get for this stuff.
[Feel free to chime in and poke holes in my timeline here.]
[Note to self: write longer essay on the development of teen confessional in this decade.]
Avril came before Michelle, at least in my part of the world, and Michelle was considered a local girl here.
Quick clarification: The straight dashes in my makeshift chart suggest what are basically contemporaries (Michelle/Avril/Pink all being in “group 1” so to speak). As for importance, I still think there’s as much Michelle as Avril in the sound of the second wave of confessional. Still, Michelle preceded Avril — Michelle’s album was summer 2001 and Avril’s was spring 2002. “Complicated” was released as a single in May, 2002 and “Everywhere” had already peaked at #12 on the Hot 100 in November of 2001, though my sense is that its real impact was in 2002.
God help us all.
Sheryl Crow, particularly through her early-decade work with John Shanks, has been an important figure in teen confessional (roughly (Vol. 1) Michelle Branch—Pink/Perry—Avril —> (Vol. 2) Ashlee/Kelly/Lindsay —> (Vol. 3) P!nk mk 2-Katy-…who else am I forgetting in the new guard, aside from Taylor Swift who seems to have shifted the mold a bit [i.e. arguably Vol. 4-ish]?), but it has nothing to do with Crow’s “personal” qualities — it has to do with what her guitars sound like. As far as I can tell, she’s a minor sonic forbear, not a (particularly notable) direct influence of the 00’s confessional boom.
The key album is the one she did with Shanks, C’mon C’mon in which you get (among other things) a few Ashlee signifiers before there was an Ashlee — the Beatle-juice [RIP Brad Delp] into stacked guitar chorus of “Over You,” f’rinstance. Haven’t listened to this whole album, but Shanks’s guitars are all over it — and his signature “violent lilt.” (The clearest proto-Ashlee is Lucy Woodward, also produced by Shanks with some co-writing by Shelly Peiken; should be noted that Lucy never did anything 1/5 as good as Ashlee, but hey gotta start somewheres.)
But obviously the more important Shanks forbear is Michelle Branch’s “Everywhere,” which is really about as close to ground zero as you’re going to get for this stuff.
[Feel free to chime in and poke holes in my timeline here.]
[Note to self: write longer essay on the development of teen confessional in this decade.]
Stop The Pazz and Jresses
Hold on, TATU’s third English-language album came out LAST WEEK? And I had no idea? Despite both their other ones being AMAZING?
I can consider myself a failure as both critic and Internet perv :(
I checked this out, too — it’s just their previously mostly-Russian release from ‘07/’08 (“Happy Smiles”) with a few new tracks, not really their best work for the most part.
I was more surprised that there are new SCOOTER and FLYLEAF albums that I did not know existed!!! But I tried to listen to them while pain meds for wisdom teeth surgery kicked in (sloooowly) and had to turn both off after about 30 seconds for fear of dying of the ol’ head-caving-in.
New project
The Tumblr “Um, no.” in which I document every time someone on the internet uses the phrase “Um, no.” as its own sentence. It would encompass:
—Paul Krugman responding to the assertion that warnings about housing bubble crashes in California in the 90’s were false, hence not predictive of larger future collapses (like the one that actually happened).
— AJ Michalka, denying that humans could have descended from monkeys. (“Monkeys? Um, no.”)
— A presumably in-joking ohnotheydidnt responding to Aly and AJ’s rechristened band 78violet.
— Some gossip columnist, responding to this outfit that Leighton Meester wore once.
— Response to the news that Eddie Murphy might play the Riddler in the next Nolan Batman movie.
— On the prospect of Meg Whitman being elected governor of California.
But will I follow through on this plan? Um, no.
In the next decade
Can we please announce a moratorium on the “parents’ basement” epithet for bloggers? It’s so MODEM.
The Blogger Problem (to the extent there is one — I’d argue we have a much much bigger Journalism Problem to worry about as far as public writing goes, but hey) is a confluence of poor reasoning and researching skills, shoddy analysis, and basic lack of reading comprehension — bad thinking and bad writing. Not only is it nothing new, it’s nothing that has anything to do with a basement (or the related assumption that one must fritter away a potentially meaningful existence to “upload” to the internet a la some dystopic 90’s fantasy — my guess is that most self- or otherwise-designated “bloggers” are middle-class and employed).
If blogs do have a built-in problematic feature, it’s perhaps that they encourage one to write first and think (harder) later. Thing is, this is a perfectly fine way to operate — one that I encourage since it at least gets ideas out into the ether faster than more formal venues — but only provided that one actually does think later. This has long been my issue with blogs without comment boxes (and, to some extent, the constant stream of posts from a Tumblr or RSS format); there’s little incentive to continue a conversation past its initial, sometimes visceral (“thumbs up”) moment of engagement.
Are there any studies on how internet reading might differ in terms of retention from non-internet reading? My guess is that we tend to remember less of what we read online than what we read from non-online sources, but this is just a hunch from my personal reading experience. <—irony of ending post about poor researching/comprehension skills with question that projects from individual experience without bothering to actually look something up noted.
It is official — the fourth-worst song of the decade is kind of pretty! Just needed new vocals. (The instrumental loop of the intro is genuinely good — someone should use it for something.)
Reading end-of-decade lists before the end of the decade...
…Is a bit like watching Oliver Stone’s W. — you feel like there’s something missing here, the experience is more meta than meat. When I saw that film in the theater, there was some experiential value, but the film itself rang hollow, like a cartoon (and a toothless one at that). I was focusing more on the act of watching it itself than what was actually happening — the little voice in my head going “TOO SOON” was part of the show.
Why don’t we take the end of this decade, if we’re going to use a deadline for something, to evaluate the previous decade with appropriate hindsight?
Andrew Unterberger on “Crank Dat Soulja Boy” (via screwrocknroll)
And yet by dint of being released after c. 2005/6 there is no way that the true weirdness of this (or many other) songs will register in quite the same way as it might’ve in days past. But maybe not — I imagine we’re in some zone like the early 60s, where you’d get some really strange songs that were really popular. I mean, just look through the tracklist of some of the (excellent) Hard to Find 45s CDs:
Joe Dowell - Wooden Heart
Richard Chamberlain - Theme from Dr. Kildare
Dickey Lee - Patches
Singing Nun - Dominique
The Murmaids - Popsicles and Icicles [here’s an example of a slightly weird take on what’s essentially a genre song, which is true of a lot of comparably odd singles in the 00s]
This is just from one of the albums, 61-64, and all of these songs did at least moderately well on the charts. I played this CD at my parents’ house once and my step-mom knew just about every word to every song, too!
What’s interesting is that I see an analogy between the movie industry in the 60’s (lower sales ceiling leading to some left(er)-field successes, often through more word of mouth and subcultural currency than general mainstream success, though the former perhaps parlayed into the latter) and the music industry in the 00’s, but I wonder if c. 1959-1964 there’s a similar move in pop music, too.
I rode a lotta els
From the latest installment of “Me: The Decade” (The college years! 2003: Cooler Kids):
Me: The weirder aspect of [making a “child-appropriate mix”] was determining appropriateness of songs based on lyrical context that no one else might get — there’s a drug reference in “Combination Pizza Hut and Taco Bell” (I rolled a lotta L’s) and it’s pretty obviously about two stoners, but I didn’t think that my students would “get” it (and really that track was more for the teachers).
Girlboymusic: Consequence of spending the first seven years of my life in Queens with a father who is a train enthusiast: for the longest time I thought he was saying, “I rode a lotta els” (as in the elevated subway line that runs over Jamaica Avenue).
Frank: That’s what I thought he was saying, too.
Me: Well, that certainly makes it more acceptable. And a “teachable moment,” starring the MTA! (But I think they’re referring to smoking blunts.) Of course, if they’re coming from Brooklyn, they might be riding an L AND an el, which would indeed be a lotta L’s.