Joined June 2013
- Tweets 32,963
- Following 161
- Followers 2,167
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6 Jun 2021
about to mute this one because people have once again presumed i use twitter to have any sort of a conversation let alone debate
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Jun 12
maybe it's just the day's other discourse, but urasawa really is a lot like spielberg to me: almost preternatural in his skill when it comes to pop storytelling in his chosen medium, and a man with a massive, debilitating weakness for the most sentimental bullshit
Jun 12
naoki urasawa draws the best faces in the biz but when it comes to stories he's somehow been cursed with American Boomer Taste
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Jun 12
also two artists where despite being relatively cool on them i have somehow seen/read the bulk of their output
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Jun 12
kind of amazing how you can almost instantly tell this was written by a.) people who were if not children then at least very young in the 2000s and b.) multiple british people
So, here it is: the definitive timeline of what hipsters were soundtracking their lives with between 2000 and 2014 (even if they’ll now tell you otherwise), beginning at the dawn of electroclash and terminating in Future Islands’ performance of “Seasons (Waiting on You)” on Letterman in the summer of that final year, which always felt like an elegy to something more than one funny little man’s on-off love affair. vice.com/en/article/the-rise…
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Jun 10
feel like i probably could have chosen from a couple hundred albums i heard between (roughly) the ages of 18 and 22, but these four came to mind as particularly hard kicks in the head in terms of exceeding understood limits/structures/instrumentation/etc
albums where i went, "wait music can also sound like this?"
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Jun 10
four more for good measure
ALT hanatarash - 2
ALT a young person's guide to phil niblock
ALT dead c - harsh 70s reality
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Jun 10
(comps felt like cheating but this one truly did rewire me when it came out)
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seen a few people compare the recent run of bozos trying to go viral at shows to the earliest days of both US and UK punk, when the whole thing had a closer connection to the flamboyant costuming and "the audience is also the star" ethos of glam. to which one can only reply: 🙄
This is easily one of the funniest responses that could’ve happened to this.
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people have been routinely griping about the rigidity of hardcore dress codes and musical expression since about 1983, and every time they've had a point, but a halloween store banana costume is not in the lineage of the factory superstars, it's attention-seeking youtuber shit
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if nothing else, the evolution is fascinating, in the same way that you can draw a wobbly but nonetheless short and consistent line from D.R.I.'s 1985 crossover classic "dealing with it!" to the global 1998 hit "iris" by the goo goo dolls
Jun 5
hardcore punks and metalheads both hate metalcore..why..? thats your baby…
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i know objectively cherry poppin daddies is probably the worst, and on the most levels, but as someone who was in music journalism during the 00s/10s, this might be the one that annoyed me the most whenever i saw it
The worst band name is Does It Offend You, Yeah?
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not sure i've ever enjoyed a band whose name was a sentence, honestly even a phrase is pushing it
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delighted to see the kids roasting this corny bullshit in the quotes and replies, rest in piss seth putnam, your legacy is adolescent nazis being mocked online
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favorite seth story remains when he got knocked out by bob from dropdead for throwing a sieg heil at a show and then (to prove what a tough guy he was) called the cops, just a pathetic specimen even for an extreme music racist
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internet-related context erasure is a real issue, especially if looking to learn the history of an era's art and culture. but if you are over 40 and arguing with a 22 year old on here about the definition of "hipster," you are not a historian, you are a loser and should stop that
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most of the people fretting over this didn't do anything of import in the 2000s beyond "going out" (neither did i, really) and you sound like tragically, prematurely aged whiners demanding young people take the ephemera of a long-passe nightlife culture seriously
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i'm blaming schrader for this one, somehow he's responsible even if I'm not sure how
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very goofball mistake, speaking authoritatively with a skimmed the wiki level of knowledge, but that said, as far back as the mid/late 90s i can remember bands complaining that the $5 per show economy did not work if you were not pulling fugazi numbers
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by the mid 90s they were selling tens of thousands of albums and selling out 1k/2k cap rooms in major cities, which they achieved because they'd spent the previous 15 years helping to build the u.s. underground, but that kind of financial success did make them a one of one phenom
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