identity-and-difference
identity and difference
identity-and-difference

It didn’t help that Whiplash also had awful music through out... it was all oddly anemic and synthetic sounding. I’m not a huge fan of big band jazz to begin with, but this was egregiously bad corny jazz...

You said that well. I think she’s the sum of all her influences that are unfortunately more interesting and influential than she is. I mean I like her. But yeah...

Now this, this is what that Pitchfork music fest at the Art Institute should be like.

I’ve never seen Merzbow live, but I too used to go to Chicago noise shows. There’s absolutely no need to be an expert to enjoy the genre. And usually being an expert in noise (or metal or whatever else) is a hindrance, as well as

Tashi Wada & Julia Holter could be interesting, but the rest of the line up seems to be more of the same old shit. I get it, it’s Pitchfork, and they have a certain readership and expectation to go with. But I would think if you’re in a museum filled with ground breaking art, challenging art, you might want to

Welp, this sounds terrible. I love Dafoe, but why didn’t they do this like 20 years earlier? Too bad.

According to your link to the Fox voter analysis wher eyou state that 73% of white people voted Republican, it actually says 53%of white voters voted republican (42% for Dems); 73 % is the proportion of the electorate that is in each race/ethnicity subgroup. It’s an important thing to get wrong. Of course, it’s still

I’d rather see him in some awesome new film that isn’t the moldy, imperialist bullshit that is James Bond. But what do I know?

From an interview I just read with JLA : “ I’m not saying that people shouldn’t judge Che. Of course we judge past figures. Now, Che, Fidel, and others were aspirational figures, who left behind a legacy that is controversial and which—Che in particular—provides a kind of “should I love him or should I hate him?”

Yeah, that was my take from this review initially. Dunno. 

Curious to read the foreword if not the book. Interesting that it could damn the whole thing for someone. I’m neither a Che partisan or hater; he’s an interesting historical figure, imperfect and contradictory; “deeply problematic” would be the term now I guess. It seems like an opportunity squandered from this

I hope Michael Shannon screams at someone. I also hope that he does dryly humorous/bored press junkets for this, which will probably end up being more entertaining the actual film.

Gotta say, while I can appreciate something like Makaya McCraven’s work, insofar as I can appreciate cocktail-bar jazz, I don’t understand the hype behind it. There are literally so many interesting jazz records being released right now. McCraven’s work sounds nearly instantly outdated and conservative. I get it— it

How dare you? I mean what the shits? Not one fucking mention of PERVERSOR’s new record. I mean it’s not Modest Mouse emo or nuthin,’ but who doesn’t want to hear some of the greatest Chilean death/black metal around right now. A band that encompasses everything stupid and great about so-called war metal or as avclub

The fact that anyone gives a shit about what Kanye says about nearly anything is disappointing but unsurprising. This isn’t simply about him either. Why anyone thinks that any celebrity or sports hero has opinions that are worth more of a damn than your average dumb shit American is beyond me. Don’t get me wrong, I

Good for him. Malick I mean. The other guy? I’m sure he would’ve been pleased.

well, that’s good to know I guess. 

why does Miles Teller keep getting work? 

The headline makes it sound like she’s writing this from whole cloth and not adapting the story, which is an altogether different thing. I’m not saying it’s the wisest choice, but I dunno. Hopefully they’ll employ some actual Syrians in this thing.

The production is also so interesting on it. Hard to explain. Very disorienting, propulsive. Love it.

It could be that I’m bad at having my finger on the pulse, but was Black Messiah kinda under-rated or at least not talked about enough? I feel like its rushed release date at the end of the year, coupled with the actual emotional/aesthetic density of the album made people say “This is great. It’s D’Angelo!” but not