honestly, this is as useful as whatever coverage you did.
4. Bruce Lamont
7. Big KRIT
10. Ken Mode
11. Mistah FAB
12. Shabazz Palaces
15. Buck 65
17. Quintron & Miss Pussycat
18. Odd Future Wolf Gang Kill Them All (Billboard debacle)
21. Moe Green
22. Trae The Truth
25. Cheap Time
26. Shit & Shine
27. Pop. 1280
31. Deaf Center
33. Herman Dune
|—||E-40 on releasing four albums with the span of 13 months. Rappers take note. [via hiphopdx]|
i don’t have anything against it, myself. but the poignant beauty of ordinary humanity - the bathetic infatuation with clumsy frailty and endearing failure, as communicated by amateurish blankness and infantile affectation - has been exploited to death for decades by indie and post-indie and would-be-indie everything. in movies like juno and thumbsucker, on indie prints and greeting cards featuring awkward line drawings of birds (currently on sale in a bunch tiny shops on 5h in park slope), in back issues of mcsweeney’s, in album after pitchfork-approved album of wounded & comforting soft sweater teatime glockenspiel music listened to, most likely, by someone you know and love. it’s by no means an ineffective artistic stance: it works, communicates, gets a feeling across. but it’s also so far beyond played that it’s become a sickening zombie sham, a horrible cloud of kitsch that sucks the life out of everything it touches.
this hyundai ad is just the they live moment - the point at which the whole world gets to try on the glasses and see what’s really been going down.”
|—||ilx poster contenderizer on pomplamoose|
via Don DeLillo:
Several days later Murray asked me about a tourist attraction known as the most photographed barn in America. We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the signs started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides — pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book.
“No one sees the barn,” he said finally.
A long silence followed.
“Once you’ve seen the signs about the barn, it becomes impossible to see the barn.”
He fell silent once more. People with cameras left the elevated site, replaced by others.
We’re not here to capture an image, we’re here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies.”
There was an extended silence. The man in the booth sold postcards and slides.
“Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We’ve agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism.”
Another silence ensued.
“They are taking pictures of taking pictures,” he said.