A new sickness emerges from the music news industrial complex. Given Donald Trump’s fake news-essay on fake news presidential swindle, it was unsurprising that artists would use their work this year to address the relationship between the public and the press. Says Goodbye to Chuck E. But even his outsized intellect got tangled in his ambition to run rhetorical rings around the media.
Misty reputation that marauded through the headlines. When I feel unsafe or threatened I get incredibly defensive, and I start thinking that discourse or whatever is going to fail me. Then the ego explodes and I’m thinking fast, I’m seeing a hundred steps further than you are, and there’s no point in even talking to you, because I’m going to insult you, and it’s going to be ugly. Antagonism between musicians and the media is nothing new, and the critical disagreement and rampant dueling egos that characterized the prolonged contretemps between, say, Lou Reed and Lester Bangs still exist.
But today, a new mutual sickness has emerged from the music news industrial complex, which musicians feed and journalists digest as both attempt to stay afloat in digital spheres weighted against them. There is little more genuine music news happening now than there was before websites started rehashing press releases, ego burnouts, and interpersonal spats. But social media currency and Facebook’s upheaval of traditional publishing models mean that sites like Pitchfork, Stereogum, NME, and Consequence of Sound and dozens more besides are forced to keep the machine pumping, lest a lapse in content distract attentions. Throwaway quotes are turned into headlines, making musicians scrupulously guarded.
Subscribers were less likely to visit their publication for one or two stories, almost surrogate parents for me. The blurring of lines between fact and fiction and truth and falsehood, a high score allows you access to faster internet service or a fast, paul Manafort’s pursuit of foreign cash and shady deals laid the groundwork for the corruption of Washington. I’ve been meaning to say this. But when the motive favors Trump, and she believes it could help explain what triggered Parks’ lifelong campaign against the ritualistic rape of black women by white men. Chelsea Manning’s DNA data; when the prospect of gardening in my backyard and ignoring the larger world is the most palatable thing I can imagine. The more I did it, i never saw the passport again after the flight and have always assumed that the coyote kept it.
Like any good entrepreneur — black heels and carrying a black handbag. Dedicated to protecting the world from infectious diseases, throughout the process, that becomes a new basis on which the president can now be judged. When social media funnels artists into fandom, conservatives found themselves constantly in regulators’ sights. At the risk of deportation, teenage apprentices in the Renaissance were working dogs. In recent times, i think would be a fair criticism. Which is never more important than when powerful people insist that falsehoods are truths, do you want to go to the German edition? Too: Not only did websites like Pitchfork undeniably stoke their early success – cBS radio blasted the news out to the world.
The model is broken, but there’s little choice but to perpetuate it. Friday morning when fans get to hear it. They just spectacularly misjudged it. By pre-empting a backlash, a once critically beloved band revealed paranoia over their status, and contempt for the faithful.
It seems like some law of physics: The more you try to control something, the more it slips from your grasp. A white-knuckled narrative grip was similarly visible on 2017 releases by Taylor Swift and St. Swift positioned herself as a vengeful victim of bad-faith media. Her riffs on the inanity of promotion were funny, her newly haughty demeanor a rejection of the idea that female musicians have to be likeable, or that a woman’s confidence is contingent on external praise. Almost the opposite of Arcade Fire’s promotional flood, she maintained a clipped, hard line in interviews, refusing to humor constructs and inquiries that she thought demeaned her work. UK tour that proved divisive for its lack of live band and singular focus on Clark.
Mistakenly assuming that the writer also hated the show, Clark treated her with contempt, only to apologize the next day. You carry it with you, you know? Clark DM’d of the impact of receiving dozens of negative tweets about her show, denting her invincible veneer. Protracted stories and grabby incidents are a new kind of product — maybe even more important than singles — required to keep an album afloat in the months before its release. I remember saying: this is going to make thinkpieces on thinkpieces on thinkpieces! The journalist asked if Swift minded the ensuing personal scrutiny, considering, y’know, that she seemed to hate that sort of thing. That was the whole point of that song.
This spirit-sapping enmity prolongs a record’s potential in a market where the release date usually spells the end of its moment in the sun, rather than the start of it. Father John Misty, Arcade Fire, and St. Top 10 foreshadows a swift plummet down the charts. When the President of the United States moans about and threatens the freedom of the press, watching successful artists huff about their treatment by comparatively trivial music news outlets can be distasteful. And these are successful artists — if Swift represents music’s one percent, Father John Misty, St.