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Archive for October, 2011

Kellow & Kael V

Posted by s woods on October 31, 2011

It’s becoming pretty clear to me that I’m not going to be able to keep up with the incredible deluge of Kael stuff floating around the web right now, so this may or may not be the last roundup for a bit. Teaser alert, though: we have some original content slated for here as well, but that’s a little down the road. Anyway, here’s a snapshot of some of the recent reviews, interviews, etc.

  • Steven Rubio, longtime Kael reader and sometime rockcritics.com commenter reviews the Kellow bio on his blog
  • David Haglund in Slate rounds up critical commentary about Kael from fellow fans and critics

Posted in Book (P)reviews, Kael | Leave a Comment »

KT on CE

Posted by s woods on October 28, 2011

Ken Tucker reviews Chuck Eddy’s new tome (Entertainment Weekly)

How glad I am to see the publication of Eddy’s new song(s) of himself Rock and Roll Always Forgets: A Quarter Century of Music Criticism (Duke University Press). Glad, first, because it’s truly a representative selection, tracing the slithery paths of Eddy’s enthusiasms from Marilyn Manson to Mindy McCready just to stick with the ‘M’s, with tart new intros that set up reprints of some of his greatest hits. And glad, second, that there exist publishers still willing to release anthologies of rock writing, since so much great rock criticism remains uncollected, neglected, less forgotten than never known to a wider audience. (Can we get a Tom Smucker book together, please? I’ll edit the damn thing myself.)

Posted in Book (P)reviews, Chuck Eddy | Leave a Comment »

Susan Whitall interview (part 2)

Posted by s woods on October 26, 2011

Part 2 of the Susan Whitall interview by Paula Yoo at Music Monday

Yes things have gotten better for female journalists, because of the changes in the broader culture. When I got out of college, in the mid-’70s mind you, scratching to get an ad writing job at an ad agency, the guy hiring actually said these words: ‘We start all our girls in the secretarial pool.’ I mean, right out of ‘Mad Men’!

Luckily I didn’t do that, but found Creem and caught on there. And fortunately, some of our male editors early on — Dave Marsh and Lester Bangs, particularly — were staunch feminists. Today there also isn’t the ever-present fear we had, of being mistaken for groupies. Today I think young women feel free enough, that it’s not a problem if they were taken for party girls. But we were very conscious of wanting to be seen as professionals, not girls looking for a good time. Thus when romantic liasons happened, it was pretty much kept on the down low (laugh)

(Link to part 1)

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Classic Music Mag Covers #2

Posted by s woods on October 26, 2011

New Wave Rock, Feb. 1978

Posted in Classic Music Mag Covers | Leave a Comment »

Classic Music Mag Covers #1

Posted by s woods on October 26, 2011

Crawdaddy, Oct. 1976

Flickr source

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Marcus interview in the Voice

Posted by s woods on October 26, 2011

Greil Marcus Revisits Some Strange Days: Jason Bailey interviews GM in the Voice, on the eve of his upcoming Doors book:

‘Look at the iPhone,’ he says, picking it up from next to him on the couch in his crisply decorated, sun-soaked West Village apartment. ‘You know, it’s good looking…’ He pushes the button at the bottom, and his home screen pops up. ‘I mean, isn’t that cool?’ He points at the app logos. ‘What does that mean? Look at all those talismanic symbols — I wonder what they are?’ He contemplates the object. ‘It was derided by all sorts of people, and I was probably one of them, as some sort of expensive status symbol, or just the latest electronic fetish object — But then people discover not only is it beautiful, not only is it cool — in the best sense of the word — but it’s also useful. And it really does make life easier. And not only does it make life easier, but it makes life more interesting and fun.’

Posted in Book (P)reviews, Greil Marcus, Interviews | Leave a Comment »

Kellow & Kael IV [updated]

Posted by s woods on October 26, 2011

And the hits kust keep on coming…

Tom Carson: “Unlike those sturdy adolescents whose sexual initiation (‘Tante Alice wasn’t a blood relative’) or political primal scene (‘The Pinkertons shot Pops at noon’) made their fifteenth birthdays memorable, the most transformative event of mine was neither erotic nor radicalizing. Except, perhaps, in totally figurative senses of both words. Having noticed I liked movies, my parents gave me a Bantam paperback called Kiss Kiss Bang Bang. If either cake or a baseball bat was in the picture, they’ve both ended up on memory’s cutting-room floor.

“Published the year before she turned fifty, Kiss Kiss Bang Bang was Kael’s second collection of criticism. Her first had been 1965′s I Lost It at the Movies, which I quickly devoured as well. Mind, lots of the time, I didn’t know what she was talking about, from her demolitions of my adolescent canon — why wasn’t The Longest Day even in the index? Who were François Truffaut, Akira Kurosawa, Joe McCarthy, Bertrand Russell? — to the aphorism that led off her killer job on West Side Story: ‘Sex is the great leveler, taste the great divider.’ I just knew I wanted to think like that, live like that. (Write like that, too — and fat chance.) Though it wouldn’t be released until later, I fear the most appropriate movie for me to have watched in Pauline’s company just then would have been Truffaut’s The Wild Child.”

Roger Ebert: “That was her influence, and you can see it reflected all over the web, probably by some critics who have never read her. It is all first person. Before the auteurists, when France was already the center of film criticism and theory, the critics of the important newspapers and magazines reflected the policies of the publication. In America, reviews were usually more sedate and removed (Manny Farber here being the exception, as he was to everything). Pauline Kael blew those attitudes out of the water. In my reviews and those of a great many others you are going to find, for better or worse, my feelings. I feel a responsibility to provide some notion of what you’re getting yourself in for, but after that it’s all subjective.”

Camille Paglia: “What excited me anew about Kael’s work is that, even though she was writing solely about movies, she was constantly inventing fascinating paradigms and templates for talking about the creative process as well as the audience’s imaginative experience of performance. Because most of my career in the classroom has been at art schools (beginning at Bennington in the 1970s), I am hyper-aware of the often grotesque disconnect between commentary on the arts and the actual practice or production of the arts. Kael had phenomenal intuition and gut instinct about so many things—the inner lives of directors and actors, the tangible world of a given film, the energy of film editing.”

Self-Styled Siren (on Kael and James Wolcott): “Reading Lucking Out before A Life in the Dark is a good idea. You go from Wolcott’s time when ‘there was no happier calling than making Pauline laugh,’ to a view of her whole life. I was familiar with Kellow’s calm, meticulous writing and research from his biography of the Bennett sisters, which I also recommend. It’s good to see Kellow bring his determined ‘on one hand…on the other hand’ approach to Kael in this excellent biography. Because with Kael, there is always another hand. She was controversial from the moment she picked up a pencil.”

Tomorrow: Jesus H. Christ weighs in on Kael.

Posted in Book (P)reviews, Kael | 1 Comment »

Highlights from Sing Out!, 1964-1966

Posted by s woods on October 25, 2011

The blog My Life – in Concert! posts scanned highlights from the pages of Sing Out!, the “folk music bible” that served as an early stomping ground for Paul Nelson and was a prequel of sorts to rock criticism.

Sing Out! is a folk-focussed journal that was inaugurated in 1950 and survives until this day. But it was in the mid-60s, at the height of the folk music boom, that Sing Out! reached its circulation peak and had its greatest cultural impact. Suffice it to say, as a magazine collector, student of social history, and music nut who has a big love for a lot of the 1960s folk music and artists, it was one sweet treat to stumble onto multiple copies from this core era.

The post includes gems like this:

The ads are terrific as well.

Posted in Advertising, Paul Nelson, Zines | Leave a Comment »

Ann Powers interview

Posted by s woods on October 24, 2011

Why I Write: Ann Powers Reflects on Writing About Rock (from National Writing Project)

It’s tough these days. Not a lot of decently paying work out there. But hell, try it. Just don’t only do that. You’ll be a much better writer if you explore many different styles: study poetry and philosophy, do some hard reporting, learn multimedia. There are some good masters programs out there now in arts journalism that give you a spectrum of skills. I think those are worth looking into.

Or go work on an organic farm for a year, moonlight as a DJ, occupy Wall Street. Keep doing the music writing one way or another as you move through life. If it becomes a serious thing, great; if not, it will have still changed you somehow.

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Tesco Vee, Abba, and Lester Bangs

Posted by s woods on October 24, 2011

You try to figure it out.

Posted in Lester | Leave a Comment »

Sub-Question of the Week: What has been your own experience with…

Posted by s woods on October 24, 2011

protest marches, acts of civil disobedience, sit-ins, and other forms of social activism? (Feel free to stretch the definition of “social activism” to suit your situation.)

I’ve decided to Occupy A.C. Rhodes’s Chair (OACRC) just for a minute to ask this question. What I’m most interested in here is “personal experience”: what sorts of activities related to social protest have you or haven’t you done, how have those experiences been, is it something you still do or intend to do, etc. I fully intend to attempt an answer myself at some point. (And no, just to alleviate your concerns, I’m not an informant, though feel free to answer anonymously, or anyway, to pretend that such a thing is possible.)

Related question asked three years ago by ACR, with one of our longest comments box responses: “Why has there been a dearth of protest songs?

Posted in Politics, Question of the Week | 3 Comments »

Carducci on Nelson

Posted by s woods on October 24, 2011

Paul Nelson: First You Dream Then You Die. Joe Carducci reviews Kevin Avery’s twin Paul Nelson books.

What’s impressive about Avery’s biographic half of [Everything is an Afterthought] is that he’s produced both an intimate personal bio and a comprehensive professional bio as well. He’s talked to virtually everyone who Nelson inspired or mentored in rock criticism starting in the latter half of the sixties and into the Rolling Stone years. These knuckleheads are a who’s who of American rock criticism, God help us. Most were of the baby boom but seemed to have had their rock and roll baptisms in the Thames. Whatever memories they didn’t have of humid, mossy southern rock and roll meant the best music was often wasted on them; they had preferences for style, lyrics and accents. In their birthdate-determined uni-mind it seemed Dylan went electric because of the Beatles perhaps that was Jan Wenner’s contribution to musicological assumption-jumping. The album (or the ten inch) was the preferred format in the folk scene and albums began to define the more pretentious collegiate experience of rock music by 1965. There was great rock and roll made in this period, here naturally, and now in Britain as well, but a kind of class-based misunderstanding of the object of music writers’ alleged expertise was developing and it going to be a problem. Before we knew it, the working class, non-Southern rock and roll of 1958 through 1963 by Eddie Cochran, Richie Valens, Johnny and the Hurricanes, Dick Dale and the Del-tones, the Wailers, Paul Revere and the Raiders, the Beach Boys, etc., was forgotten and no matter the amount of R&B in their sets the British Invasion given credit for introducing white Americans to black music. It was write there in black and white in the Rolling Stone magazine.

Posted in Book (P)reviews, Paul Nelson | Leave a Comment »

Occupy Rock Criticism (ORC), II

Posted by s woods on October 21, 2011

Ann Powers, 21st Century Protest Music: Will There Be Another Dylan? Should There Be?: “Mostly, though, the music of Occupy Wall Street has been generated not by known performers or even people who necessarily call themselves ‘artists.’ It’s emerged from the cloud that’s spread on the ground. The same 21st-century style organizers who’ve been holding twice-daily meetings to come to consensus, privileging process over a set of clear objectives, are engaging in the kind of culture-making that dominates the Tumblr-loving, home recording-making, music industry-scorning future thinkers taking pop into its next phase.”

Greg Tate, Top Ten Reasons Why So Few Blackfolk Appear Down To Occupy Wall Street: “The sudden realization by OWS-ers that American elites never signed the social contract and will sell the people out for a fat cat’s dime — hey, no newsflash over here. Blackfolk got wise to The Game back in 1865 when we realized neither 40 acres nor mule would be forthcoming. Also, as one sharp strapping ready for whatever you got youngblood recently put it, ‘I aint about to go get arrested with some muhfuhkuhs who just figured out yesterday that this shit ain’t right.’”

Charles M. Young, 13 Ways to Look at the Occupation of Wall Street: “The Ad Hoc Caucus of Non-Male Identified Individuals wanted help writing a letter to Stephen Colbert, who had done a report that focused on a Non-Male Identified Individual who was in a state of disrobe while protesting Wall Street on the sidewalk. The report featured only interviews with Male Identified Individuals commenting on the naked Non-Male Identified Individual. The Ad Hoc Caucus of Non-Male Identified Individuals wanted Colbert to rectify this imbalance. Male Bodied Individuals, who were not wholly Male Identified, were welcome at the meeting of the Ad Hoc Caucus of Non-Male Identified Individuals.”

Daphne Carr, I am an amplifier: “We’d been there about 15 minutes and it was his [Carr's friend Chris's] first time to an OWS space. He was delighted to see that the scene was more punk than it seemed on the news. As a veterans of ’90s hardcore, we agreed that there was a distinct Punk Planet vibe, as if the beloved zine had returned as slogans on cardboard or duct tape rather than perfect bound. It made me want to do a subculture decoder ring for mainstream media: can’t they see those ‘hippies’ are all radical punks and conscious hip-hop kids? Not all dreads are the same.”

Posted in Links, Politics | Leave a Comment »

Kellow & Kael III (+ Nelson & Clint)

Posted by s woods on October 21, 2011

And the reviews keep coming:

  • Jason Bailey, Village Voice: “While Kellow’s analysis is often trenchant (‘The life was seeping out of the film movement of the 1970s, and she knew it. All the more reason, then, to intensify her advocacy for the movies she loved, even for those that she thought simply showed promise’), his conclusions are frequently puzzling. He slams Kael’s appraisal of Ellen Burstyn’s performance in Alice Doesn’t Live Here Anymore for ‘speculating on the private thought processes of the actress’ and engaging in ‘crystal-ball gazing, pure and simple’that is ‘quite out of critical bounds.’ According to whom?”
  • Lisa Schwarzbaum, Entertainment Weekly: “As for Kellow’s second strength, it’s an elegantly simple one: He’s a movie lover but not a professional critic. Kael had many axes to grind, but Kellow appears to have none. He just pays attention — an asset for anyone who loves life in the dark.”
  • Somewhat related: Richard Brody, in this New Yorker piece uses Conversations with Clint: Paul Nelson’s Lost Interviews with Clint Eastwood 1979-1983 (edited by Kevin Avery) as a launch pad to discuss the hostility between Kael and Clint Eastwood. Nice to see Brody giving the Nelson/Eastwood book its due, but his axe-grindey conclusion is something else: “P.P.S. The returns have long been in, and, despite the friends and followers who colonize the columns of publications across the country, Pauline Kael has lost. Clint Eastwood is rightly recognized as one of the most distinguished directors of the last forty years (and his career continues to advance from strength to strength); the same is true of Woody Allen (she preferred the early, ‘funny’ Woody). Alfred Hitchcock, Nicholas Ray, John Cassavetes, Otto Preminger are justly considered consummate artists; The Man Who Shot Liberty Valance is a locus classicus of the political cinema. Ishtar was welcomed with ecstasy at its 92nd Street Y screening last spring, and its creator, Elaine May, was received like the exiled heroine returning. Nobody would mistake Nashville for the cinematic second coming of Ulysses or Last Tango in Paris for that of “The Rite of Spring”; when Shoah returned last year, it was not discussed as a ‘long moan.’ And the list could go on for quite a while.” (Is this guy a critic or a scorekeeper?)

Finally, Kael gets tweeted:

Posted in Book (P)reviews, Kael, Paul Nelson | 1 Comment »

Interview with Kevin Avery, re: Paul Nelson

Posted by s woods on October 20, 2011

Paul Nelson: The legendary rock writer’s life story is music book of the year… Kevin Avery in conversation with Marc Campbell at Dangerous Minds:

Marc: At one time, rock and roll critics were almost as interesting as the music and artists they wrote about. I’m thinking of Lester Bangs, Richard Meltzer, Nick Kent, Cameron Crowe, Lenny Kaye and Paul Nelson, among others. They were kind of like literary rock stars. Do you think Paul had problems dealing with the attention he was receiving as a high profile critic and was he too much of a purist to last in that environment?

Kevin Avery: I don’t think he put himself into the position where he could be the recipient of that attention. He often withdrew to his apartment, behind the safety of a closed door and a prehistoric answering machine that his friends grew to despise. Even when he did frequent the Seventies rock scene, there was something “alone” about him.

As for the second part of your question, I don’t know if I’d label him a purist. It’s difficult to call someone a purist who is equally willing to embrace the music of Bob Dylan, Bernard Herrmann, Jackson Browne, the Sex Pistols, and the Ramones. It was the fact that he wasn’t a purist that got him in trouble with the traditional folksters in the Sixties—because he championed Dylan when he plugged in and went electric.

{Be sure to click on our Paul Nelson tag for more.}

Posted in Book (P)reviews, Interviews, Paul Nelson | Leave a Comment »

Occupy Rock Criticism (ORC), I

Posted by s woods on October 20, 2011

Various rock critics grappling with the “Occupy” protests and/or the state of political/economic life in general.

Frank Kogan, Getting people all in one place is amazingly hard: “I feel a bit hypocritical for not getting involved, since I’m the one who strenuously insists that the major flaw of my musicwrite world is its unwillingness to focus and follow through: that the people in it don’t know how to sustain an intellectual conversation and are totally unable to comprehend the need to persist on a topic, return to unanswered questions, develop rudimentary thoughts, work to understand someone’s ideas, communicate their own, etc. Not that I expect anyone at Occupy Denver to do better or accomplish much of anything. But I doubt they’ll do any harm. And as Mark [Sinker?] said in WMS #13, getting people all in one place is amazingly hard, much less with at least the illusion of moving all in one direction, and persisting. So I may drop by, today or tomorrow, just to see.”
[This is followed in the comments box by Frank's report after dropping by: "Went for a couple of hours. Loved it..." Read the rest.]

Dave Marsh, Who’s Demonizing Who?: “Does President Obama believe that more than 30 months of supporting the Wall Street ownership class justifies his putting words in Dr. Martin Luther King’s mouth? On what basis does he arrogate to himself the right to sideswipe an entirely non-violent movement to curry sympathy — or even empathy — for the Wall Street scoundrels who occupy so many posts in his cabinet?”

Tom Hull, Down and Out at the DMV: “One reason I see this resembling the 1960s is that when you think about it you’ll realize that the new left won the culture wars back then: civil rights, getting out of Vietnam, abolishing the draft, women’s liberation (everything from abortion to equal pay), clean air and water, consumer protection. The problem was that we didn’t build the institutional framework to consolidate power to protect (and extend) those gains — but one key reason that didn’t happen was that we distrusted and never grew comfortable with power. So we left the rich too rich and the military-security state too well dug in — the bases for the right’s counterrevolution — and we lost focus and, at least for a while, just lapsed and enjoyed the better world we had made.”

Tom Smucker lands his mug in “Faces of Occupy Wall Street” at Think Progress: “We just came down to handout flyers since at Verizon, union employees in the northeast are bargaining a new contract with Verizon. So we’re here to support these people and hoping these people will support us. [...] The issue of there being a fair economy is obviously very important to union members right now. And we all feel that there is now pressure on union members and working people in general to accept less when it’s clear that there’s another set of people who aren’t accepting less.”

Greil Marcus, Revolution in Amerika? at Zeit Online. Um, given that this be in German, you might prefer to read this (somewhat spotty, I’m guessing) English translation at the blog, I’m Gonna Call You Fluffy instead: “I don’t know who organized the protests against Wall Street, whether hidden motives are behind it and whether groups such as the pseudo-left fascistic ‘International A.N.S.W.E.R.’ have a hand in it. I don’t know either what’s supposed to happen, if anything concrete is demanded. It’s obviously not a spontaneous outbreak of frustration. After all, considering what gives rise to frustration in America — which is pretty much everything — the protests pose the question: Why only just now and why here? I find it hard to believe that the demonstrations pose as a left parallel to the Tea-Party-Movement, as some honourable liberal commentators suggest. The Tea Party Movement has been started by anti-governmental Ayn-Rand-Worshippers, celebrating the hegemony of the corporations, and was rapidly monopolized by the unofficial money machines of the GOP, in order to be hierarchically structured and funded by right-wing billionaires.”

… And of course, the inevitable NYT piece about pop music’s inability to communicate any sort of coherent, unified message about these events as they unfold in real time, a piece, I swear, I come across at least once every three or four years.

(Looking for more intersections, interjections, etc.)

Posted in Links, Politics | Leave a Comment »

Tull vs. the Critics

Posted by s woods on October 19, 2011

A few months ago I posted a little diversion on Genesis and the critics (in particular, regarding Christgau). I guess my boredom has reached an apex today, because I’ve been wading my way through a similar message board, this time with Tull fans having at the critics, including Bangs, Marsh, et al. You could read worse things today, I suppose, but anyway, it takes me back to when I was 14 or 15, feeling my way through the armfuls of new wave records — good and bad, great and terrible — I was starting to became an avid consumer of, and being struck by an Ian Anderson quote in Creem (I think he was on the cover, I think Simon Frith wrote the piece), wherein he professed an interest in… Ian Dury. For some reason, that connection resonated strongly at the time — I just spent hours thinking about it; how odd and yet how perfect — and there hasn’t been a time since when I’ve thought about Ian Dury that I haven’t also thought about Jethro Tull and vice versa. (And for the record, I grew up in a household with a certain brother obsessed with JT for many years, and I can still name half a dozen tunes by them I like a lot.)

Posted in Links | 3 Comments »

Bangs Bronzed

Posted by s woods on October 17, 2011

English Dept. to celebrate alumnus who became rock critic

GROSSMONT COLLEGE (Press Release) — The English Department’s Creative Writing Program will pay tribute to a deceased rock `n’ roll critic and former student as part of its Fall 2011 Reading Series. The third annual Lester Bangs Memorial Reading will be held at 7 p.m. on Wednesday, Oct. 19 in Building 26, Room 220. Admission is free and the public is invited to attend… Bangs is considered the most famous writer to attend Grossmont College, and is believed to be the only author to actually mention Grossmont College in a piece of internationally published literature. In 2010, Bangs was inducted into Grossmont College’s Walk of Fame, a permanent display of bronze plaques embedded in concrete that feature names of distinguished Grossmont College alumni. The Walk of Fame program, which began in 1989, raises money for educational programs at the college.

Posted in Lester | Leave a Comment »

Birds of Fire

Posted by s woods on October 17, 2011

Birds of Fire: Talking Fusion with Kevin Fellezs. Karl Hagstrom Miller interviews the author of a new book on jazz/rock fusion.

[Fusion] was music that I found both virtuosic and visceral — a marriage of technique and expression that I found compelling and exhilarating. And I couldn’t believe that no one else seemed to feel this way. Fusion wasn’t even being talked about in jazz circles and Stuart Nicholson’s Jazz-Rock book was more than a decade away. When I first started this project, it really felt like a personal crusade.

Posted in Book (P)reviews, Interviews | Leave a Comment »

Kellow & Kael II

Posted by s woods on October 17, 2011

Some recent Kael items, including reviews of Brian Kellow’s forthcoming biography:

(see Kellow/Kael I)

Posted in Book (P)reviews, Kael | 4 Comments »

 
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