8Sided Blog

the scene celebrates itself

The Pomposity of It All

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One of the first bands I was into was Yes (which is why I know a thing or two about Alan White). One could easily find most of their oeuvre in the cut-out bins, so I had all of Yes’s early albums by the time I was 15 — even this one. But soon, punk rock and post-punk reared their shaggy heads. I quickly jettisoned Yes, prog-rock, and anything resembling those to the dustbin.

So, I never really got into Vangelis. The pomposity of it all — I filed him alongside the Rick Wakemans and Keith Emersons of the world. My synth heroes were rarely photographed in front of banks of gear, whether Cabaret Voltaire, Chris Carter, or the more humble practitioners regularly featured in Keyboard Magazine, like Suzanne Ciani. Of course, I dug the music in Blade Runner, but I was just into Blade Runner. Though I watched it multiple times, I only saw it via VHS or DVD on television at home. I considered every part of it satisfying as a whole.

In 2007, Blade Runner: The Final Cut was released on the film’s 25th anniversary. This version wasn’t just another ‘director’s cut’ treatment — the visuals and sound were fully remastered, with the latter updated for theaters with surround sound. At the time of its theater run, I was in Los Angeles, staying with a friend and looking for something to do on a lazy afternoon. My friend told me that a cinema within walking distance of his place was one of the ‘test theaters’ used by the film’s technical team to fine-tune this new Blade Runner version. The movie was playing on that particular screen, and, as the film’s techies optimized the ‘remaster’ in that very theater, this would be one of the best settings in the world to see this latest Blade Runner.

I walked down to the cinema. It was the middle of the afternoon on a weekday, and there weren’t many people there. I was able to get the coveted center-but-several-rows-from-the-screen seat. No one sat near me, and, with no snacks to distract me or drinks to inspire a restroom break, I settled in for my first time seeing Blade Runner on the big screen.

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The first thing to hit was the opening shot of the city at night, accompanied by that identifiable ‘boom’ sound.1which, btw, I sampled and used repeatedly throughout this track The city and all its lights looked incredible, so clear and gorgeous. I was immediately overwhelmed. But then here comes Vangelis. The plaintive opening theme eases in, and I hear it all around me. The high melodic line seems to float around the theater. The music is so crisp, vibrant, and alive — I’m finally comprehending the accomplishment of Vangelis’s score.

The sum of Blade Runner’s parts does combine into something magical, a synergy that doesn’t often happen in collective art. And it’s no surprise to learn that Vangelis composed the music specifically for the visuals and only in service of what was on screen. As he’s quoted as saying, “My music does not try to evoke emotions like joy, love, or pain from the audience. It just goes with the image, because I work in the moment.”

Of course, Vangelis recently passed away. Thinking about what I missed, I’m planning a deep dive and give a try to some classic Vangelis music that I once dismissed (without hearing, I’ll add). If you’re in the same boat, a good starting place is this memorial and career overview from Alexis Petridis.

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Through the recent Aquarium Drunkard podcast interview with Sasha Frere-Jones, I discovered a new-to-me podcast called Weird Studies. The show’s description: “Conversations on art and philosophy, dwelling on ideas that are hard to think, and art that opens up rifts in what we are pleased to call ‘reality.'” Could I be any more on board after seeing that?

I’ve listened to two episodes so far, and they were both delightfully fun and heady. Of course, I started with the philosophical discussion of Blade Runner. And then I naturally moved on to the episode about Brian Eno’s Music For Airports. So many ideas are shoved in each hour+ that it was a little dizzying to keep up. It’s a podcast that might warrant repeated listenings for episodes on your preferred topics. 

As the discussion of Eno went on, with the concept of ambient music’s context a recurring theme, I was surprised the hosts didn’t mention the story of Eno hearing Music For Airports played in an airport. Unfortunately, the story is anecdotal, relayed by Brian in an interview I can’t locate. Brian told of arriving at an airport for a highly-trumpeted installation he was giving in the city. The album greeted him as he stepped off the plane and into the terminal. The only problem was that it was playing too loud. “They missed the point!” I recall him saying in the interview with palpable frustration. His reaction makes me think of this classic Far Side cartoon, and, in Eno’s version, you’d replace New Age Music’s Greatest Hits with Music For Airports played at top volume.

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While on the subject of Brian Eno, I need to mention the incredibly indulgent box set recently released by his chum Robert Fripp. The Exposures box consists of a stupefying 32 discs, broken down here by John Coulthart, who possesses one of these monsters:

I’m still working my way through its contents: 25 CDs, 3 DVDs and 4 blu-rays; the CDs all run for at least 70 minutes each so these alone provide about 30 hours of music. The box covers three phases of Robert Fripp’s “Drive to 1981”: his debut solo album, Exposure; his Frippertronics guitar recordings, both live and in the studio; and his short-lived New-Wave dance band The League Of Gentleman. All cult stuff in this house, obviously, you don’t buy 32 discs on a whim.

The average price of this thing sits around $170, which is reasonable for all of that. But this is a niche piece — I mean, I’m big a fan of Robert Fripp, but I guess not big enough as I won’t be getting this. I wonder how many Robert’s team has manufactured. But it’s easy to see the future2And the present, if we’re being honest. of physical releases in Exposures. I’m not necessarily talking about extravagant multi-disc treatments that cost a few weeks of grocery money. I’m impressed by the niche aspect, the catering to the hardcore of the hardcore fans with a limited run edition, and you don’t need the discography and gravitas of Fripp to do it. Perhaps you can issue a disc with a limited zine featuring exclusive insights into the artist’s process. Or a cassette that comes in a beautiful wooden box, each individually painted or hand-carved, signed by band members.

The key is creating the myth — drawn from truths and stories — that swirls around your art and serves the listeners looking for entry into those secrets. No pussyfooting!

What a Time to Be Alive

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“What a time to be alive,” he groaned.

About a decade ago, a friend and I talked about how the world was in turmoil and disturbingly uncertain. I remember telling him my theory that the cause of almost all modern conflict is resistance to change. Humans are progressing and becoming more enlightened, for the most part, and the status quo doesn’t approve. A concerted and institutional effort to stop this change only gets more desperate. After all, change is inevitable — it’s happening whether anyone wants it, which is ultimately an optimistic view.

But, as I told my friend, it will get a lot worse before it gets better. So we sighed and shook our heads in grudging anticipation for the tough times ahead. But we had no idea it would get to this.

It’s not easy to write through democracy in crisis. ‘The American Experiment,’ once presented with holy reverence in high school civics classes, may not survive the strain of 250 years. What seemed hyperbolic and the province of chicken littles is now a rising possibility. It’s scary out there. And I find it unfathomable that this is acceptable to others who also sat through those civics classes. Some of them — elected officials, even — are cheering on democracy’s potential collapse.

How did we get here?

Sean Illing is the host of Vox Conversations. Within that weekly podcast, Sean launched a monthly series called The Philosophers. Each episode focuses on different philosophers and how their teachings are relevant today. And the installment on philosopher Hannah Arendt, author of 1973’s The Origins of Totalitarianism, is an eye-opener. The podcast isn’t an easy listen — not because it’s dense but because of how Arendt’s findings apply to our situation. I found the conversation illuminating, and though it didn’t add hope to my day, it brought some new perspectives.

The perceived helplessness is stifling, too. I’m a massive advocate of voting — if you saw me DJ close to the 2004 and 2008 elections, I was probably wearing a t-shirt with “VOTE!” written across my chest. But the right to vote, the bedrock of democracy, is increasingly compromised. And then there’s the fatigue of seeing too many elected officials not sounding the alarm as they should. In her fantastic Lorem Ipsum newsletter, Margot Boyer-Dry linked to this cartoon, accurately summing up the feeling in the air. 

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But I think voting is still the most important action, in concert with other forms of activism, support, and donation. The guiding principle is to do the opposite of what the knuckleheads want. And they don’t want us to vote. The evidence is there. They want us to feel frustrated and powerless. They want us to ignore local and midterm elections and only care about presidential politics. And they want us to vote for third-party candidates and to believe those votes count.

The fact is that our political system is based on what’s called ‘first-past-the-post’ voting. Intrinsically, this creates a two-party system (even independents like Sanders have to align themselves with one of two parties), and voting outside of those, at best, does nothing but provide a limited sense of personal satisfaction. CGP Grey has a great video on first-past-the-post voting and how easily it can lead to undesirable outcomes. 

CGP Grey - Vote Leopard

Look, I’m not saying this is a great system. Far from it! If I had my way, there would be zero political parties in the US or, at the very least, a parliamentarian system. Ranked choice voting is the most probable alternative within the US system, but it’s still a pipe dream on a national level.1If you like the idea of ranked choice voting, the best way to advance the concept is to build support for it in your city or county. Ranked choice voting will need to trickle upward to acceptability.

You might cry that I’m asking you to vote for “the lesser of two evils.” I am, and that’s not a bad thing! That’s the only way to make first-past-the-post voting work for us. We find candidates that are a step in our preferred direction, even if those steps are baby steps. We won’t and don’t have to agree with everything — just those things that are important to us. If we’re consistent in electing ‘baby step’ candidates, those steps get larger and larger as new candidates see how the wind is blowing. The alternative is what we have now: steps backward. And, dismayingly, these backward steps are large steps. For those traditionally trod upon, they’re giant steps.

Speaking of those giant steps backward, here’s Margot Boyer-Dry again, from a recent edition of Lorem Ipsum:

Having moved through the years 2016-2022, this moment is hitting bluntly, mainly because it feels like there’s relatively little to be done from an establishment perspective (again, outside the voting, which we will all do responsibly, if with a degree of dejection). But what does that leave? Everything besides the establishment. I think we’re about to see a lot of guerilla change. Just wait until we all start hosting kids from Florida in our city apartments while they get medical care. Watch the startups normalize mail-order abortion pills. Observe the the Supreme Court’s crumbling in the cultural consciousness. There will be stuff to do; we just have to make it up. Sit tight.

🔗→ see also: Creating Sends a Signal

Expand the Bubble

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In January, I started compiling my Bandcamp discoveries in a monthly playlist. I utilize BNDCMPR technology, allowing songs from everyone’s favorite music platform assembled into an online playlist. BNDCMPR isn’t just a useful alternative to Spotify playlists for turning people on to cool tunes but these compilations also help me remember favorites I’ve run across on Bandcamp.

I just published April’s playlist. It features a mix of brand new music, a few great songs from friends, and a couple of meaningful rediscoveries (R.I.P. David Freel). As always, I put care into the sequencing so listen to the playlist from beginning to end if you’re able. And please check out the full albums and purchase any music that you’re particularly digging.

Need more? Here are my previous playlists from January, February, and March.

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I spent a good part of the weekend cleaning out my RSS feed subscriptions. There are a lot of feeds in there and I don’t think I’m even a third of the way done. I subscribe to a lot of feeds. I like to open my RSS reader (I use Inoreader) and start flipping from the most recent thing that comes up. This gives the experience a random feel to it (and you know how much I like random things) and I’m often finding inspiration from articles and posts I wouldn’t have run across otherwise.

That said, as I audit my RSS subscriptions, I’m saddened but not surprised at how many blogs are dead or inactive. Granted, many of these bloggers have moved on to newsletters (you can follow many of those with RSS, too) but — come on — let’s get back to the beat of the blog!

Subscribing to RSS feeds is the most important part of my gathering and researching process. It’s also how I keep up with my favorite blogs and sites, especially those of friends of mine. Until recently, I kept up with ‘what’s going on’ and potential writing topics through Twitter and social media. Now, with RSS, I get to finely curate the info flow to my interests while keeping things broad enough to expand the bubble, all without the overwhelming noise. And — bonus! — there aren’t any algorithms getting in the way. The web is pleasant again.

Interested? Here’s a great page that explains all you need to know.

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I’m considering posting the week’s media diet here every Sunday. I worry revealing this information will make it seem like I read, watch, and listen to way too much. Please know that I compartmentalize my intake — I have specific times of day for it all and I rarely finish anything in one sitting — so rest assured it’s not like I’m staring at a TV all day.

WATCHING

Shoot the Piano Player (1960) – François Truffaut’s second film is excellent and surprisingly hard-boiled, but also comes off as a little slight. That’s probably because, in Truffaut’s filmography, it’s sandwiched between The 400 Blows and Jules and Jim, two of the best films of the 20th century. I like that the two gangsters in Shoot the Piano Player apparently got into their line of work because they really enjoy meeting new people.

A Separation (2011) – I first saw A Separation a decade ago and can’t believe how hard it still hits in a rewatch. Masterful in every. Single. Way. Here’s a fantastic review of the film on Letterboxd that helps explain why it’s so great.

King Richard (2021) – I’m still getting through last year’s Oscar-nominated films. I spent a small chunk of this thinking Rick Macci was played by Bob Odenkirk under a wig and a bit of makeup. Despite that disorienting delusion, I found this to be standard but enjoyable Hollywood fare. The kids are great as is Smith, even in light of the post-Oscar elephant stomping around the room.

Tokyo Vice – Caroline and I are enjoying this. It’s stylish and fast-paced, and Ken Watanabe is always a joy to watch in action. There are more than a few moments of insufferable expository dialogue (usually my TV-watching kryptonite). And a few of the plot points require putting logic on hold, which is no biggie as the source material might not be that logical either. But it is a lot of fun and who doesn’t enjoy cruising around late-90s Tokyo for an hour each week?

LISTENING

You already know what I’m listening to music-wise if you check out the BNDCMPR playlist that started this post. Other than that, two podcasts caught my ears this week and made my brain whirl.

I really got into this conversation between the author Robert Greene and Pete Holmes on the latter’s You Made It Weird podcast. Holmes is a little hard to take at times (especially if you’re a new listener and aren’t used to his overbearing bedside manner as a podcast host), but Greene and his fascinating interests make everything good. He gets a little into his process and also goes into how a follower of Zen Buddhism could comfortably write books about power and seduction. There’s some life-after-death and ‘time is a flat circle’ type talk, too, so hold on to your hats.

I didn’t exactly get what I expected from the author Emily St. John Mandel on The Ezra Klein Show besides a couple of passages read from her books. Instead, most of this discussion is about time travel and what it would mean if we are indeed living in a simulation. I ate this up, especially the conclusion that we’re already living in a simulation because of the stories we agree upon that control our lives. Heady stuff!

READING

I’m working my way through Salman Rushdie’s Shame. It’s not an easy read! But I’m continuing on as every time I pick it up there’s some gem of magical realism or a gorgeous series of sentences that keeps me moving toward the end.

Spot Lyte On Podcast with Carrie Kania

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A quick plug for the latest episode of Spot Lyte On…, a music industry-adjacent podcast that I co-produce and edit. Host Lawrence Peryer speaks with Carrie Kania, creative director at Iconic Images and former publishing executive at HarperCollins. Unsurprisingly for these two music-heads, most of the conversation is about music — favorite bands, early music memories, favorite shows — but you’ll also hear fascinating reminiscences about living in New York at the end of the 20th century and plenty of insight on the book publishing industry. The episode is available on your favorite podcasting platform or app including our suggestions found here.

Punching the Disinfo Machine

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This Spotify dust-up is fascinating, isn’t it? I spent much of the last 48 hours talking with people about it, explaining what’s going on, and mildly debating it (though please remember that I don’t argue on the internet). People have questions and there’s still a lot to understand about a situation that’s starting to feel like a runaway train. I thought it would be fun and helpful to do a self-Q&A to clear up some things and offer an opinion on why I believe this is a meaningful moment.


• Why pick on Spotify? There are awful content and disinformation podcasts distributed by Apple, Amazon, and more. Is it hypocritical to leave Spotify but remain with the others?

It’s hard not to argue that under late capitalism any large corporation will end up going down a dark path (just ask the folks who eventually removed “Don’t be evil” as their unofficial motto). Thus sole reliance on any corporation, especially for one’s artistic output, is something to avoid whenever possible. There’s also the messy perception of shared endorsement when the platform one relies on does nasty things.

While disinformation is undesirable on any platform (and the climate change denial stuff concerns me just as much as the pandemic stuff) there is a difference in how Spotify participates in its distribution. Spotify’s relationship with Joe Rogan’s podcast involves a layer that’s more complex than other negligent platforms that host disinformation podcasts.

Spotify paid Joe Rogan over 100 million dollars for exclusive rights to the podcast. That’s a lot. And artists and subscribers aren’t entirely wrong in feeling like they help pay for that by utilizing the platform. And, by paying this much for a single property, it’s in Spotify’s interest to relentlessly promote that property. In my experience, Rogan’s podcast is the top podcast recommendation on the Spotify dashboard a lot more often than it isn’t. I’ve never listened to a podcast through Spotify in my life but, almost without fail, there it is. Recommended for me and, I’m sure, recommended for you as well.

Those are the things that Neil Young et al. find most disturbing, which differ from, say, how Apple hosts toxic podcasts on its platform. This doesn’t excuse Apple or anyone else — pretty much every platform is guilty to some degree. Which I think is another reason why we’re picking on Spotify: there’s a sense of helplessness in the sea of disinformation and targeting Spotify feels slightly hopeful. It’s a message delivered to a company financially invested in the disinformation and a tangible loss (in invested money or share price) might make other platforms think twice.

Admittedly, this sounds quixotic. But I don’t think that’s a reason not to strive for a world we’d like to live in.

• Why are Neil Young and Joni Mitchell the ones pulling music off Spotify and not any current top artists?

The particulars of major label artist deals are varied and tricky and often put the artist at a disadvantage in distribution decisions with their catalog. (I released three albums through a major in the late ’90s and there is no way that I’m able to pull those off Spotify.) No matter how big newer artists are (and I’m talking ones who came up in the last 20 years) they are most likely still locked into contracts that last multiple releases and decades. So, it’s not surprising that ‘legacy’ artists are ones able to do this as they’ve gone through at least a few renegotiations, theoretically able to get better terms and more control each time.

But — many legacy artists also have their hands tied, thanks to those huge payout publishing acquisition deals that have been happening. Neil Young may have negotiated the final say over where his songs can appear in his recent deal (and Warner Bros is an accomodating partner) but it’s possible Bob Dylan or Bruce Springsteen didn’t. We don’t know. Related: this tweet from David Crosby.

• What about Taylor Swift? She kept her music off Spotify before. Wasn’t the whole point of leaving Big Machine Records to gain control of her music rights?

As for Taylor Swift, we can only guess at why she won’t (or will she) do anything. She did sign a new deal with Universal Music Group after her fights with Spotify and Apple, so her amount of control may have changed (and I assume she was aided in those fights by a label that was apparently sympathetic with her wishes, which would be ironic). Yes, her owning her masters was publicly a big part of the Universal deal, but I bet that ownership comes over time (10 years after the release date on a recording, for example) rather than right away — but different than the perpetuity of her Big Machine terms so better for her in the long run.

Plus, the fact that Swift has an antagonistic relationship with her former label which controls most of her recordings probably means she couldn’t remove everything even if Universal agreed.

• OK, if the artists can’t remove music from Spotify shouldn’t they at least all speak out?

Yes, a lot of these artists that don’t have control over their recordings could and probably should speak out — and some are! But there’s the danger everyone doing the “thoughts and prayers” thing could become performative overkill and fade with no real bite like tweeting a black box did. In my opinion, if an artist really wants to make an impact, don’t mention Spotify at all in posts, on the artist’s website, and in public (unless to occasionally remind listeners not to go there) — send fans to other platforms. Bandcamp’s a great choice.

• I can’t help but think that Neil Young and Joni Mitchell won’t have enough impact. Only older music fans care about them, not the demographic that Spotify wants to reach.

Hey, I’m a Gen X’er who likes Neil Young — I was converted after seeing him out-feedback Sonic Youth in the early ’90s. But, okay, Neil and Joni may mainly appeal to the ‘olds.’ You know what, though? Large and important parts of the music industry are still being run by the olds (including the journalistic side). The impact may be subtler and greater than you might think.

• Where do you think this is going?

My hope is that we’re another step closer to a split in the music industry and how music is consumed. That wouldn’t be anything new — until streaming came along, the independent label and artist ecosystem existed separately from the corporate one with some overlap. The introduction of streaming brought the promise that those sides could live peacefully under one roof (or platform). We’re starting to see the problems and ethical conflicts brought about by that notion. Here’s something from 2019 I wrote on this topic and, surprise, Neil Young plays a role in that post, too.