Good old Perry Farrell has changed his tune on EDM at Lollapalooza. Back in 2011 he told USA Today:
“My mission is one day there’ll be live music on one side and electronic music on the other side,” Farrell says. “It looks like the world is really going in that direction where dance music is the new punk rock. I’m going to tell (event producer C3 Presents) next year it should be half and half. So expect it in three years.”
“When they said they wanted to name a stage after me (when the festival relaunched in 2005), I was honored,” he says. “I like the adulation. But now you say, ‘Perry, what’s going on with your area here?’ Believe me, I’ve got questions myself. I hate EDM. I want to vomit it out of my nostrils. I can’t stand what it did to what I love, which is house music, which was meditative, psychedelic — it took you on a journey. … I sometimes cringe at my own festival.”
I can’t say I disagree. Back in 2011 Perry’s stage was very obviously the most exciting part of Lollapalooza. That was the year I suggested that “Perry’s made the rest of Grant Park feel like a tired twentieth-century throwback to a place where bearded old cavemen rubbed pieces of wood together hoping to make fire.” It was the same in 2012 and 2013, but Perry’s stage has been going downhill since then. I’m no expert on dance music, but maybe it’s just not that cool anymore? I guess we’ll see this weekend…
It happens in every election cycle: Some candidate tries to co-opt a popular song to punctuate a message in a rally or other live event, only to raise the ire of the artists who created the song. It usually happens to Republicans, because…well…they suck. And really, who can they turn to? Ted Nugent?
This week, Republican presidential nominee and human bag of spoiled Orange Julius sludge, Donald Trump took heat from the Rolling Stones, Queen and George Harrison’s estate for playing their music during live events. It seems nobody wants to be associated with the Donald though the Internet is having a field day with suggestions.
And I have my own: TOMMY CASH – WINALOTO
The lyrics are a mish mash of bravado and materialistic non sequitur, just like a Trump speech! Delivered by flamboyant Estonian rapper, Tommy Cash, you can’t look away from the video…even though you know it’s bad for you. Watch all the way through, and then tell me you didn’t watch it again.
This is a reminder that it’s important to register to vote if you haven’t already. It’s not hard to do, and it really does matter. Even if you live in a very “safe” state, the national popular vote determines how big of a mandate the winner has received. You can’t vote if you’re not registered, so please register to vote.
If you’re paying any attention at all, you might have noticed that we are approaching some very dark times in this country. Things are getting more and more weird and ugly and mean. Let’s all do what we can to make it better. Elections matter. Don’t fuck this one up, America.
A great new Handsome Family song from their album Unseen, due September 16. It’s crazy to realize they’ve been putting out spooky, heartbreaking music for over twenty years now. I’ve been a fan for almost that long. In the very early days of GLONO we did an interview with Rennie Sparks. She gave better responses than my goofy questions warranted, which just goes to show how cool she is.
I was elated when the HBO drama True Detective chose their song “Far From Any Road” as its theme song for its first season. They were finally getting the attention they deserved. Hopefully all those new fans continue to dig what Brett and Rennie Sparks are whipping up in their Albuquerque home studio.
Creem Media, Inc. has been defunct since 2011. Its former web site is a sad content farm and there’s something new calling itself Creem Magazine that just makes me want to punch myself in the face. So good job, everybody.
This documentary is apparently the only hope we have in keeping the real CREEM memory alive. Go fund it!
It’s the summer festival season, which is my favorite time of year. For someone who has an arbitrary limit of both ticket price and venue capacity, I have an enduring love of festivals. Mostly because an outdoor festival is devoid of most of the shit I hate at music shows: I can avoid the crowds if I want to by skirting the edges and sitting in the trees, I get lots of variety in the acts for the price, I fucking LOVE falafel and cheap beer, and there’s the fresh air.
One thing I don’t like about festivals is the preening and pretense you sometimes encounter, just like at an indoor show. You know the dudes who walk around shirtless and waxed and the gals wearing high-waisted cutoffs cut so high you can see their ears? Yeah…that.
And so I was genuinely delighted to stumble across this clip of a bro getting down to some Uptown Funk. It’s a display of pure, uninhibited joy. And he doesn’t even seem wasted!
Seeing this kid get down in the middle of T in the Park lets me know everything is going to be just fine. And I hope to see some of this unbridled funk at Wildwood Music Festival this weekend.
She’s the best. More than a year after the release of Sometimes I Sit and Think, and Sometimes I Just Sit Courtney Barnett releases a star-studded video for “Elevator Operator.” Glad to see she’s doing well enough to invest in a high production video.
I’m too much of an old square to recognize very many of the cameos in this but I caught Sleater Kinney and Jeff Tweedy. How many do you know?
We grew up hearing snippets of the stories: first joints, flying tents, incorrect memories of the acts who played, and even a fabled master recording from the sound board secreted away in a friend’s basement (recently rediscovered). The event was more legend than an established piece of Michigan history, but staged almost exactly one year after Woodstock, the Goose Lake International Music Festival did indeed happen and it was glorious.
Annoying music bed and even more annoying local commercials aside, this 30 minute documentary has an oral history from organizers and attendees with fantastic archival footage of Michigan’s entrant into the 60s and 70s music festival culture.
Innocence Reaches is due August 12, 2016 on Polyvinyl. “It’s Different For Girls” sounds like Kevin Barnes is back to embracing electro-disco pop again, so that’s fun. But it’s also serious if you listen to the lyrics: “It’s different for girls. From when they are children they’re depersonalized, aggressively objectified.” And yet it’s still playful and silly. “They don’t spit on the street, they don’t piss on the seat.” Dude’s clearly never been to a music fest where girls hover over the porta-potty with uncontrollable aim…