A question to ponder: Is the support of 1,000 True Fans better than the here-today, gone-tomorrow affections of a quarter million or more Lesser Fans?
Happy Thanksgiving everybody! Today is my favorite of all holidays. If you ignore the whole set of associations with native American genocide it is, quite literally just an occasion to say thanks -- a kind of non-denominational, all-inclusive moment of grace.
A few weeks back I posted a video which benefited from the art of simplicity. But sometimes complexity is alright. Even if that complexity comes in the form of signs & symbols without a clear referent.
The documentary is called Ladies & Gentlemen, Mr. Leonard Cohen.
This morning a poet friend IM'd me a poem. That was a first for me. (And, actually, it was a Gchat message but you get the idea.) Soon, she will be going to Brazil for a long time, a place I've had reason to think about a fair bit, of late. The poet's status message led me to this video. I wonder if it means something.
In their not-so-complimentary review of Julian Casablancas' solo debut, Pitchfork pointed to this fierce 2002 performance from the David Letterman show by his band The Strokes.
I have a soft spot in my heart for Los Angeles Times emeritus pop critic Robert Hilburn. Back when I spent more time writing about music than enabling its makers to make a career at it, Bob was kind enough to invite me to the newspaper's dining hall for a pep talk.
I'm going to be out of town the next few days, enjoying the Maine foliage. I'll let this tip of the hat to Morton Feldman serve as space filler.
Alec Hanley Bemis lives in Brooklyn, NY but spends a lot of time in California. He obtained his B.A. in History from Yale University. His writing has appeared in LA Weekly, The New York Times, The New Yorker, Spin, AsthmaticKitty.com, the Los Angeles Times, and many other publications. In 2001, he co-founded Brassland, a record label that documents the work of a growing community of musicians, including The National and Nico Muhly. Currently he continues to run Brassland, consults for the UK-based music company All Tomorrow's Parties, co-manages The Dirty Projectors, and acts as general manager at Cantaloupe Music. In the past, he has taught in New York University's graduate journalism program, produced projects for the new media-design firm, Funny Garbage, and written for Faith Popcorn's BrainReserve.