Maybe you heard about Sufjan Stevens' recent US tour. Maybe you read my braggadocious post about the (tiny) role I had in kicking off this latest round of shows.


Did you read the title of this post? That's one argument made in "Letter from Canada: The Return of the Native," Adam Gopnik's recent New Yorker profile about Canadian academic-cum-politician Michael Ignatieff.


I don't want my permanent record to reflect that my favorite things are BlackBerries, Mike Bloomberg & U2. So, to clarify some confusions that have arisen in the real world since posting last week about Bono's Bloomberg shout out I need to make three points.


Last night I saw U2's 360° Tour. This was definitely the WTF moment of the night.


Tickets went on sale last week for The New Yorker festival, the annual roundelay of uber-cultured readings, panels, concerts & events which -- much like The New Yorker itself -- are perhaps a bit too self-consciously about Culture with a capital C rather than about the culture (lower case c) that they are presenting.


One reason I stopped being a full-time music writer is that I hate feeling compelled to write about what I'm hearing when language fails to do justice to the sound. It should also go without saying that, at times, what one sees at a concert actually seems even more important than the music.


The autumn doesn't officially begin until late September. But let's be honest, emotionally speaking, it starts after this Labor Day weekend. And I just realized I never announced my official song of summer. Well, whoot, here it is.


In 2001, Napster introduced the world to file-sharing, and ever since the media has been filled with feverish stories about the music market's decline. Indeed, no one sells 10 million or even 5 million copies of a single album anymore; that said, some success stories have been ignored. Many artists in the independent sector are experiencing unprecedented popularity.


Alec Hanley Bemis's picture
Alec Hanley Bemis

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.