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February 22, 2006


Ex-Boyfriends talk to Aversion.

As I'm sure you're aware, these days power-pop and pop-punk are magnets for juvenile bands. Are you afraid that Dear John might be unfairly ushered into the same realms because of superficial similarities?

Daly: I can see how some of our songs might be seen as reflecting somewhat the current pop-punk trend. It's what comes with the territory when you're a trio playing melodic, poppy songs, but when you look at the label "power-pop," there's a huge difference in my book between Fountains of Wayne and Good Charlotte. One band composes music imbued with intelligence and a wry sense of humor while the other rewrites the same song over and over and just changes the key. You can guess which is which.

The Guardian previews this year's British Book Awards.

John Fahey's hometown newspaper profiles the musician.

Aquarium Drunkard kindly shares the Neil Young live bootleg collection, Perfect Echo Vol. 1, '67-71.

Artist Tara McPherson has a wonderful collection of her show posters and other art online.

The Participatory Culture Foundation launched their free and open source Democracy Internet TV Platform yesterday, complete with a cool t-shirt supporting the cause.

Glide lists spring US tourdates for the Books.

Bookslut's Jessa Crispin "hates self-published books, except self-published comics, which are even cooler than legit books."

Zach Rogue of Rogue Wave is interviewed by Seattle Weekly.

A lot has been said about your transformation from dot-commer to successful musician. Now that you've experienced both worlds, what's more fulfilling: job security or creative freedom?

Having been thoroughly entrenched in both lifestyles now, I'd say they both have tremendous trade-offs. I was making great money before [doing Web development] and was pretty effective at what I did, and I hated it. I was some guy just doing something that gave him no creative stimulation, and I'm much happier now. It's given me a glimpse of another side of me, and all of us. Everyone is capable of making art and creating things if they want to.

Seattle Weekly plays Jukebox Jury with music critic Simon Reynolds, author of Rip It Up and Start Again: Postpunk 1977–1984.

Reynolds: [quizzical, until lyrics kick in] Ahh, Arctic Monkeys. I love this record. It's fantastic.

SW: They're hugely hyped by the English weekly New Musical Express, and you write a lot about the interaction between the music press and the post-punk movement. How do you think the nature of British music-press hype has changed?

Reynolds: It's complicated. NME is no longer like it was at all when I was a kid. At that point, NME saw itself as a magazine about all music, not just indie rock. They would have Bob Marley on the cover, a big piece on Michael Jackson. There was a sense of journalistic responsibility, like The New York Times or something. I feel like if the NME of then was around today, they would have had Dizzee Rascal on the cover.

Nick Southall discusses his "dance epiphany" in Stylus's Soulseeking column.


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