Friday, December 27, 2024
As I’ve done for the past few decades, I’m ending the year with a look back at some cultural highlights I found most fulfilling during the past 12 months: Hitting the road with the kids: 2024 was a special year for family travel — an early summer trip to stay with relatives in San Francisco (a moment from there above), then a late summer stay with my sister just outside of D.Lovely, gentle new album from Clem Snide: “Oh Smokey.”
Saturday, April 13, 2024
This rich new New Yorker piece on Alan Sparkhawk — about the death of his late wife and Low partner Mimi Parker and the music he’s been making since — sent me back to band’s incomparable catalogue. There was a stretch of months in 2003 when I’d started a new writing job at the Saint Louis Art Museum, and I’d play Low’s album “The Curtain Hits the Cast” over and over at a low volume in my little office; it was the soundtrack to my days in a new job in a returned-to city.Saturday, December 30, 2023
Continuing a 23-year tradition of rounding up cultural highlights from the past 12 months, here’s a recap for 2023: 15 Books I Especially Loved This Year An Additional Batch I Enjoyed (That first hard-to-ID book is “Pentagram: Living By Design," which I had to scramble to procure before it sold out. The brown one in the middle column is “Scaling People”, a terrific book about team- and company-building. The full list of what I read in 2023 is here.Fantastic interview on the Time Sensitive podcast with a writer I admire: “Jelani Cobb on 50 Years of Hip-Hop and the Future of Journalism.”
Rick Rubin, talking with Tyler Cowen, gets to the heart of what we lose as streaming music fans:
I’ll say the most difficult thing about it now is that all of it has a disposability that it didn’t have before. In the old days, you would buy a piece of music, you would own it, and you would be invested in that piece of music as yours. Now everything is available, which is fantastic and I love it. As a fan, I love it.
When something comes out by an artist that you love, it doesn’t have the same gravitas that it once had because it’s on this conveyor belt of music that’s always going by. Even the thing you love, you listen to it, but then there’s something new right behind it, coming right behind it, always something new coming right behind it. I don’t know how the music of today can get to the point of the canon of the music of the past based on that short term, the fact that the music goes by so quickly. Even the things we love, the shelf life is very short now.
In The New Yorker, Margaret Talbot explores the “melancholy grandeur” of Weyes Blood, my favorite new find of last year.
What a match: Remnick on Dylan.
For the generation that has listened to music only in earbuds, intimacy is the new punk rock.
Bono, speaking generally but also of Billie Eilish specifically, in an engaging NYT Magazine interview.
I’m just catching up with Björk’s podcast, Sonic Symobolism. One album per episode. Unsurprisngly, it’s excellent. On a few walks today I listened to a deep dive into the lush and intimate “Vespertine”, which she made after acquiring her first personal laptop. Loved this part:
And I still meet journalists today that always have this, ‘If it’s done with a computer it doesn’t have a soul’ — that argument. But it’s not about the tool. You cannot rely on a guitar to put the soul in a song. Or a violin. Or a laptop. If there is not soul in it, it’s because the human did not put it there.
Saturday, June 11, 2022
What a supremely fine and lovingly crafted book this was. Astute, admiring, and entertaining scrutiny of decades of rap lyrics. Huge kudos to author Daniel Levin Becker. A few especially great passages I drew circles around in my copy: I will go to my grave wishing my self-conscious rhetorical throat-clearings could sound so cool. What Nas seems to toss off here is not just a very efficient overview of the themes he’s spent his career elaborating—decadence, gunplay, activism, divinity—but also a rare window onto his composition process, his creative deliberations, the whole inner monologue around medium and message that is at once so tantalizing in a rapper and so often viewed as beside the point.Friday, December 31, 2021
Since 2000, I’ve had a year-end tradition of sharing my cultural highlights of the past 12 months. For this year’s post, I’ll first note the major life change I had in 2021. After eight years leading comms and marketing for the nonprofit conservancy Forest Park Forever, I re-entered the agency world this summer by joining The Stoke Group, a fully distributed digital marketing and content studio that focuses on the B2B tech sector.Nice line from Kelefa Sanneh’s “Major Labels”:
Unlike many virtuosos, Eddie Van Halen had a knack for making virtuosity seem like a good time, and all the early Van Halen albums sound as if they were recorded at house parties, with the party noise somehow edited out.
Jeff Tweedy’s new Substack newsletter, Starship Casual, is unsuprisingly great — at turns goofy and thoughtful, just like his books and interviews. Today’s post, “Heart of Glass (Rememories 5), was especially memorable. He’s a slyly penetrating artist.
Thursday, December 31, 2020
*Sylvie, sipping through a backyard quarantine concert by a friend and SLSO musician* Year 20 of my annual cultural-recap tradition was quite something. Thus far my family’s had good fortune amid the global pandemic, so we’re spending most of our time feeling grateful, yet exhausted, then grateful, yet exhausted. With lots of time at home, there was some enjoyable culture to take in. Here’s a look at some highlights: Books The Source of Self-Regard: Selected Essays, Speeches & Meditations, Toni Morrison Uncanny Valley: A Memoir, Anna Wiener Our Man: Richard Holbrooke and the End of the American Century, George Packer Having and Being Had: Eula Biss My Parents: An Introduction, Aleksandar Hemon Minor Feelings: An Asian American Reckoning, Cathy Park Hong Weather, Jenny Offill Promised Land, Barack Obama Then the Fish Swallowed Him, Amir Ahmadi Arian Jack, Marilyn Robinson My Life in France, Julia Child Severance, Ling Ma Caste: The Origins of Our Discontents, Isabel Wilkerson Luster, Raven Leilani Intimations, Zadie Smith Monocle: How to Make a Nation The Passion Economy, Adam Davidson These Fevered Days: Ten Pivotal Moments in the Making of Emily Dickinson, Martha Ackmann Wine Simple, Aldo Sohm Normal People, Sally Rooney The Lying Lives of Adults, Elena Ferrante Girl, Edna O’Brien Lurking: How a Person Became a User, Joanne McNeil How to Be a Family, Dan Kois Mies van der Rohe, Edith Farnsworth, and the Fight Over a Modernist Masterpiece, Alex Beam The Secret Lives of Color, Kassia St.Sunday, May 3, 2020
Odds and ends from the past few weeks: What a fun treat to see Forbes spotlight ListenForestPark.org, an audio microsite my team launched a few years ago as a side project. It’s found a new audience these days. Finished “Devs” on Hulu. Dug the style and performances; so-so on the ultimate substance. The series “ZeroZeroZero” was, like one of the creator’s prior work “Sicario,” cinematically beautiful; it was just too grim and violent for me to continue past episode three.Sunday, April 19, 2020
Borrowing the structure of a few other online writers whose websites I enjoy (Paul Robert Lloyd and Mark Boulton, among others), I thought I’d start weekly low-key look-backs on the week, bullet list-style. Perhaps weekly is aspirational. We’ll see. Greatly enjoyed Emily Nussbaum’s long New Yorker profile of Fiona Apple, whose long-awaited record just hit my Spotify streaming today. After reading the piece, I’d been going back through Apple’s back catalogue, awaiting the new songs and relishing the old.Wednesday, January 29, 2020
Thanks to a chance moment listening to KDHX in the car, I’ve now had Haley Heynderickx on repeat — especially her record “I Need to Start a Garden,” and especially the song “Oom Sha La La.” Looked it up, and sure enough, there’s a Tiny Desk concert in the books as well, with that tune kicking it off. Grateful for the find.Saturday, August 24, 2019
Two relatively new music books I enjoyed this summer: Jeff Tweedy’s Let’s Go (So We Can Get Back:) A Memoir of Recording and Discording with Wilco, Etc. (honest, often funny; really enjoyed the sections about his sons) and the bluntly titled Beastie Boys Book (their mischief has been carried over to the copy and design).Sunday, March 24, 2019
While not personally a blues guy, I loved every paragraph of David Remnick’s terrific New Yorker feature exploring Buddy Guy’s long career, the change of blues’s place in culture and what the future holds, if anything, for the genre as Guy’s been playing it. Toward the end of the piece, Remnick turns to his magazine’s own poetry editor — poet and essayist Kevin Young — for this insightful description of the form: The blues contain multitudes.“Will Oldham: Unmasked” — For GQ, Alex Pappademas gets unusual access to one of my favorite songwriters.
Our house suddenly feels warmer with the recent arrival of this 1963 Wurlitzer Spinet. Props to the kind folks at [http://www.jacksonpianos.com](Jackson Pianos).
Sunday, February 4, 2018
With a nod to Kottke's monthly "Media Diet" posts, I'm experimenting this year with short monthly recaps of interesting things I've read, watched or listened to. (This is as much for myself, as noting what I took in can help me better recall it.) Read Paula Scher: Works — Terrific, from the opening essay and interview to the work itself. (A)Abbott Miller: Design & Content — Intelligent and beautiful. Especially loved reading about Miller's co-founding of a "Friday, November 3, 2017
With this terrific Kottke.org guest post — “Bill Callahan, the only sad man worth loving” — Carmody had me immediately returning to the handful of albums I own. (As Carmody points out, Callahan’s not on Spotify, my own daily streaming service: “This means his legacy risks being eclipsed for a whole cohort of fans. I find this unacceptable.")Tuesday, October 24, 2017
Thanks to a surprise purchase by my wife, I’ve been enjoying the new issue of Lapham’s Quarterly, which takes music as its cover-to-cover subject. I’ve enjoyed reading Lapham for years, but hadn’t known that he’d studied piano as a youth, or that he’d spent time in New York City as a young writer waiting (and waiting and waiting) to write about Thelonious Monk. After several months of sharing late-night space in the Five Spot, this happened:Monday, September 4, 2017
Following his exceptional profile of Father John Misty, Paumgarten goes deep with the intriguing, shrewd and self-aware St. Vincent: When she listens to a playback, she often buries her head in her arms, as though she can hardly bear to hear herself, but, really, it’s just her way of listening hard. Once, during a mixing session, while she was at the board and I was behind her on a couch, surreptitiously reading a text message, she picked up her head, turned around, and said, “Did I lose you there, Nick?Fascinating, entertaining profile of Father John Misty in The New Yorker.
Demo of Low’s “Will the Night.". Among the most beautiful three minutes of music I know.
Saturday, April 8, 2017
Where have I been to miss this marvelous podcast for its first 101 episodes? Hrishikesh Hirway interviews musicians and asks them to break down a single song, which we hear in bits … and bits … and then in its entirety. It’s a fantastic idea executed with great polish, sensitivity and humility (Hirway is almost never heard from). I’ve so far enjoyed Jeff Tweedy/Wilco, Ghostface Killah and Bjork, with many more in the queue.Wednesday, March 15, 2017
Insightful and entertaining New Yorker profile by Alec Wilkinson. I can still vividly recall seeing the White Stripes at The Pageant in 2002, a blazing tricolor duo that owned that room from start to finish.