May 11, 2006
Chicagoist has always admired The Crutch’s smart writing in the face of so much of today’s rock criticism that seems intent on showing off how much smarter the writer is than the material that he or she is reviewing. While we’ll miss The Crutch as a publication, we’re fans of blogging too and look forward to reading The Crutch 2.0.
"I like the fact that Pinback's live thing isn't the same as its recordings--it's much more raw," says Smith. "Everything tends to be faster, just because when you're two guys sitting in a living room you're mellow and you're chilling out and going at a quiet, relaxed pace, so when we're live it's got more energy. You've got a live drummer versus us playing to a drum machine, and then you've got other people playing your parts, so that puts a new spin on it, too."
Ownership rights to manuscripts have been undefined for a long time.
"Ownership of manuscripts belongs to the writers," said Minoru Nakamura, a lawyer and poet who is also the director of the Museum of Modern Japanese Literature.
"But there was an age when it was natural for publishing companies and newspapers not to return manuscripts. Most writers also had little understanding of their ownership rights and did not ask for manuscripts to be returned."
Given the fetish we as a culture have for new technology and gadgetry, an audioblogger putting out a CD seems almost quaint, like a step backward in the age of downloading and iPods. Is there some deeper statement being made in that choice?
Not at all. But the fact that it’s also being released on double vinyl is definitely a nod to the fact that all these songs originated on vinyl back in the day. The album is available for download from a few sites like Rhapsody and others. Given that its origins go directly back to an MP3 blog, we’re definitely not being Luddites about this.
Meanwhile, over on The Hype Machine, the hits just keep on coming. The site is an aggregator and search engine that scours the limitless galaxy of mp3 blogs that have cropped up over the past couple of years. You know: those sites with clever, lyrical names like Largehearted Boy and An Aquarium Drunkard? Sites curated by die-hard music fans who deal entirely in rare soul or underground hip-hop or twee indie pop, and who delight in writing music criticism alongside — free for download — the best track from the new Band of Horses album? Or the latest Diplo remix. Or live radio performances by Belle & Sebastian and the New Pornographers. Or tracks from not-yet-released Sonic Youth and Mission of Burma records.
DRE: I saw the Asia Argento movie your husband is in.
Teese: Oh yeah. I haven’t seen that one yet actually.
DRE: It’s really painful but beautiful.
Teese: I think he lost interest in it when he found out it wasn’t a true story. We felt duped because we met J.T. Leroy and everything.
DRE: It’s almost embarrassing.
Teese: Yeah. I read the book cover to cover in one sitting and I have a hard time looking back and thinking, “Why did somebody make this up? Why make up more ugliness in the world when there’s so much already?” I don’t know why someone would write something like that for kicks.
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