1. Bad Boys

    I watched the Pistons 30 for 30 after not paying attention to the series in a while. It was pretty entertaining, even though I’ve seen 95% of the footage before and knew the story well, but also a complete whitewash. I get that it’s an NBA production and that it relies on interviews with the former players. And it’s actually pretty forthcoming about its mission to celebrate the team. But the lack of punches on screen is kind of weird. I’m not recommending sensationalizing violence but I thought this “film” was supposed to be about the team’s identity, which was about actual fighting and not just a hip check here and a hard foul there. Obviously there’s no shortage of the missing footage on youtube, but for young people or non-basketball fans, the episode paints an extremely incomplete and misleading picture. There’s two seconds of a Kevin McHale interview but that’s the only time we hear from the other side. Laimbeer does not comment on his tactic of trying to injure airborne opponents.

    But the thing that irked me most about Bad Boys was the repeated, prominent use of “Fight the Power”, not just because it’s a total cliche but because it’s indelibly tied to New York, or if you’re really stretching it, Michael Jordan, but not Detroit. The ridiculous Kid Rock narration, however, was a brilliant move.

  2. Will delete later

    How do people deal with not getting irate and petty at pieces of writing that appear on the internet that aren’t by them? I go in cycles of censoring myself and then expressing some of this rage somewhere, even though none of this really matters, my pettiness and jealousy are more of a problem than the writing, expressing any dissent can be self-defeating because it’s a waste of time and editors could potentially see it and be turned off, there are structural demands / time constraints etc which have been covered as nauseum which means there’s tons of good and bad writing everywhere and its not their fault blah blah and ultimately I like people and support writers but then I’m like fuck, the person wrote this and THEN it made it past an editor (even if many editors don’t really edit, they still look at it). One of my dozen or so recent peeves is recap writers using exact phrases from dialogue of the show lazily or uncritically to describe/comment on the show, and without crediting it (not that you would have to in all situations). Today’s version which is maybe part of a different category is calling Pete Campbell’s new L.A. look “hippieish”. No! That’s the joke: Don calls him out as a hippie even though he is dressed nothing like one - he’s only even slightly hippiesh by Madison Avenue style standards, or those of a few years ago. Apart from some new, modest sideburns, his tartan trousers and polo are essentially a golf uniform, signifiers of the leisure class if anything, and not the counterculture.

  3. Dammit, forgot to #promote this #content earlier. In case you’re not watching till later, read this at Consequence of Sound. I play music supervisor for episodes I haven’t seen yet.

  4. OK, let’s review every music doc ever made here we go

    I sillily avoided watching “The Punk Singer” up till recently out of jaded contrariness and feeling like I was completely done with both the Bikini Kill and Le Tigre portions of my life. My biggest reservation, though, was due to an acute feeling of disappointment  when hearing a Kathleen Hanna radio interview sometime around 2005. I found her inarticulateness shocking, given her artistic output and identity as a scene leader. I don’t know why I even remember that, and it’s never a great idea to have a single interview inform your entire opinion of someone. Maybe she was having a bad day, or I hadn’t learned to chill yet… In the film, Hanna is still often blunt or even defensive but the narrative does a pretty good job of arguing that she has every right to be combative.

    The filmmaking is fairly amateur, and not in the DIY/punk way. It rather shamefully teases the revelation of Hanna’s health problems, which interrupted her music career and which she is still battling. It tells the story of Hanna’s various projects, bizarrely, as though she never made any records and as though these records didn’t have an effect on the musical landscape. This is especially evident in the Le Tigre portion, with zero mention of her influence on larger indie/dance crossover trends in the early 00s. The technical side doesn’t really do the subject matter justice either - there’s a distracting moment when “Reject All American” plays as background music, runs out, is followed by silence, and then starts up again from the top.

    Despite all of this, the film is moving, though it’s difficult to tell how much of that is down to nostalgia. If her records played any part in your life, it’s probably worth watching. It’s a credit to the beloved status of the subject that the non-name filmmakers were able to get such high profile talking heads. After watching I couldn’t for the life of me figure out if I’d ever seen Le Tigre. I woke up the next morning with an answer: yes. But I only remember Hanna’s heartfelt introduction of ESG. Oh, the retro-upon-retro-obsessed oughts.

  5. Trying to figure out what do with my whole online self, be less anonymous etc. Any votes for about dot me or flavors dot me?

  6. I’m not going to pretend that I had epiphanies on any of Frankie’s dancefloors so you should probably go read better tributes BUT here are some ways Mr. Knuckles’s music has seeped into my consciousness.

    1) I had a weirdly ordered relationship with dance music. Essentially, I first became a New Order superfan, then decided I should start DJ’ing, then through those two activities expanded outwards, forwards and backwards. So I dove into the then-contemporary electroclash, microhouse, minimal, nu-disco etc, while also trying to learn some of the history of disco, house and techno. (I kind of hit saturation with keeping up with new dance music a few years ago, and gave up DJ’ing long ago, but have never really stopped going deeper into the old stuff.) For some reason, The Whistle Song eluded me for quite some time but I can remember downloading it one September and just being pretty much transported. It sounds like an American response to the jazzier side of the second wave of English acid house - blissful rather than ectastic, somewhere along the comedown but with the peak still easily remembered…

    2) I go full weeks at a time, as recently as this year, when the (kind of silly) bassline from “Cold World” pops into my head with no traceable trigger whatsoever, and just will not leave. Dum duh-duh-duh-dum dum-dum dum-dum…

    3) I’m glad everyone is posting his radio sets because house was house before there were actual house records, meaning house was largely modified, DJ’d disco. It’s hard to get a handle on how many different stages of dance music development FK was at the forefront of…

    4) Baby Wants to Ride, Your Love and Let The Music Use You are some of the best pieces of music ever, forget about “house” or whatever distinctions.  A lot has been written this week about FK’s spirituality and how you could feel that in his uplifting DJ sets, which is no doubt true. But the Trax hits are far removed from simple positivity - they’re strange, eerie and deep, while sometimes also comical, stark, dirty or foreboding. Almost always in minor keys (don’t worry I’m not gonna get Owen Pallet-y here), they connote everything that’s possible in nightlife - excitement, danger, romance - rather than just pure contentment. I have well-stuck memories of walking at night with these tracks in my headphones and (paradoxically) feeling more connected to the city and its night people, even if my city’s definitely not Chicago and this is not the 80s.

  7. 17:37 19th Dec 2013

    Notes: 175

    Reblogged from goneril-and-regan

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