Jinnistan wrote:

crumbsroom wrote:

I won't post the link, because the article is posed as click bait garbage, but I came across some half-assed sputterings online about how Dylan is not a poet and his writing is overrated hackdom. Of course the writer qualified this by claiming that it's not like they don't 'get Dylan'. They totally totally do and they actually even like a couple of his songs. So, make note, clearly this person knows what they are talking about. But then they go out of their way to randomly grab at random lyrics they claim don't 'make sense' or are poorly constructed in order to force rhymes on the listener. And because of this, comes to the conclusion that he lacked 'the linguistic talent' needed to be considered a poet.

I appreciate you not linking to this article.  Having said that, perhaps you can drop the name of this schmuck and the rag he drools through because I'm already cracking my knuckles a little.

Reminds me of that awful review of Get Back that I sent you.  I get similar vibes in this brand of overeducated critic who probably feels the need to take down the titans of, especially Boomer, culture by feigning some kind of revisionist reckoning bathed in fashionable socio-pedantic prostrations (verbiage!).

Or as Dylan would say, "Here is your throat back, thanks for the loan."

David Free, The Age.

It's clearly a mild nuisance. But I'm in a vicious mood and it was almost designed to get horrible art-cranks like me rankled. And I allowed it because I'm a click-baited schmuck.
 

Jinnistan wrote:

But as a POET, nay, he can't even compete with those who respect language."

It's almost like some people don't get that respecting language might also have something to do with freeing it.

It's almost like some people don't know what the fuck poetry is. Or what it can be. Or why these are the people who give it the kind of reputation that seals it off from being something you can actually hold in your hand. That has a weight that can be felt. That it isn't something you have to put your latex gloves on before daring to touch.

I want to burn the internet to the ground for all of the endlessly terrible and dumb opinions it has exposed me to. I want to go back to the times when it was only the terrible and dumb opinions of my friends I had to contend with (which, as it turns out, really weren't all that dumb or terrible, considering what else is lurking out there).

You really can get a read regarding the cultural rot in society from art criticisms. They basically parrot back the bad political hot takes of the day. And being that this is a culture of black and white polarities, superficial readings and quick emotional payoffs, it's no wonder actual thought in society is in a constant state of de-evolution.





 

I am not in love with this new Somali Yacht Club.

I didn't intend for it to turn out this way but, well, one thing led to another...


Divine: Female Trouble, Main Theme (1974)




Everybody Loves an Outlaw: I See Red (2018)




Gin Wigmore: Feels Like Me (2020)




Lil Mariko: Shiny (2021)

Last edited by Rampop II (5/11/2022 4:34 am)

I've avoided listening to this guy for so long. Dopey looking dweeb with a way around a melody and a bunch of guitars is just about the last way to entice me to listen to someone. But, I actually think this is pretty fucking great.



 

And today my ears will be stuffed with nothing but Eurovision trash.

Speaking of creative forging of the underclass, I've lately been enjoying a collection of Latin inspired jazz from the 20s and 30s which is most helpful by including a lengthy detailed essay on the various undersung contributors to modern popular music, whether the Cuban Alberto Socarras (who recorded the first jazz flute solo) and Don Azpiazu (who first recorded the first popular recording of "The Peanut Vendor" prior to Louis Armstrong's version) or the Puerto Rican Ramon Usera (who wrote "Under the Creole Moon") and Juan Tizol (who wrote the standards "Caravan" and "Perdido") to Brazil's Ary Barraso (who introduced samba-carioca from the Candomble people into the Rio dancehalls.), as well as a break down on the various rhythmic innovations, from tango, choro, rhumba, son clave, bolero, etc.
















(Although my collection also comes mostly from vintage 78s, the sound quality is much better than most of these clips.)

I'm starting to think I want to get into post 80's The Fall. I'm sure this is full of pitfalls. And super expensive repressings I can't afford. And I don't fucking care.