Juli Thanki praised Whitmore’s 2009 album Animals in the Dark and we gave it a 7. “Animals in the Dark is Whitmore’s most political album to date, with several songs referencing the troubles facing this country, a problem which Whitmore blames on authority figures who abuse their power… The album’s title comes from ‘Old Devils’, the strongest song on an album full of strong songs. Who are the old devils? Whitmore calls them, ‘Those animals in the dark / Malicious politicians with nefarious schemes / Charlatans and crooked cops.’” Whitmore recently stopped by Later…with Jools Holland for powerful performance of “Old Devils”. Plus, here’s a recent performance of “Who Stole the Soul”. Tour dates after the jump.
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British Sea Power were tapped to create the soundtrack for the upcoming DVD release of the 1934 documentary Man of Aran directed by Robert J. Flaherty. Rough Trade releases the accompanying album on 9 June. The band has performed the music at a host of UK events already this year. Sample a track below.
British Sea Power
“Come Wander With Me” [MP3]
In the NYT yesterday was a brief item about a meeting of the American Association of Advertising Agencies—which has decided, perhaps in part because of advertising’s growing unpopularity with consumers, to rebrand itself as 4A’s. The article quotes the president of 4A’s:
“Our business is still fighting for more respect in the public sphere,” Ms. Hill said. “The common perception of our business in the United States continues to be so negative for so many people.”
The belief that simply renaming something removes the underlying structural problems that afflict it is basically everything that is wrong with advertising in a nutshell: The main premise of the industry is that every conceivable goal can be accomplished entirely through reputation and perception management. And consequently, it tends to recognize only those goals that suit such a program, fixing superficiality as an ideal. The success of the industry hinges on how seductive it can make that ideal.
So is it any wonder that consumers are wary of it. The NYT article also mentions this Harris poll (also noted by Rob Walker) that reports that among those polled, two thirds believe that advertising and marketing share some of the blame for the current economic malaise, because they encouraged people to buy things they couldn’t afford. The coverage of the poll linked to above attempts to dismiss this finding as Americans playing the bad old Blame Game, but that doesn’t wash. (This might be the most ridiculous claim I’ve ever seen: “Now, thanks to television shows like Mad Men and Trust Me, [advertisers] are slightly more visible and they are an easy scapegoat.” So people dislike advertisers more now that they are glamorized in TV shows? And Americans are so myopic that they don’t know what an industry does, or that it even exists, until it’s depicted on a show?)
Sure, the advertising industry isn’t responsible in the same way Wall Street is (though one shouldn’t forget the aggressive marketing campaigns of lenders and mortgage brokers over the past decade), and neither are imprudent consumers buying what they can’t afford, for that matter. But what the poll gets at is the climate of irresponsibility that people felt to be palpable, a climate that derives directly from the ideology that marketing must by its nature disseminate: namely that whatever we are doing is inherently inadequate, that we need more, that we shouldn’t be too secure in ourselves because we don’t really control that all-important surface that we present to people, for which the evaluative criteria are always changing. We distrust advertising because we sense that it is stripping us of our ability to desire, that it entices us to outsource our own motivation (it is far more convenienet that way), leaving us as shadows of ourselves. We see that we are giving it all away to avoid the very sort of effort we should be striving to find opportunities to exert.
Sonic Youth’s new record The Eternal drops on 9 June in the US and UK. The band previewed a new song, “What We Know”, from the record this week on Later… With Jools Holland. Plus, here’s the official free MP3 again.
“Sacred Trickster” [MP3]
Compiling Best-of Lists is always tough. No matter what you pick, no matter the rest of the critical consensus on the issue, someone comes along who knows a whole lot better than you and proceeds to call the compilation on every misguided choice and each obvious, awkward exclusion. Opinion can never, ever please all the people all the time, but when one goes out on a limb and declares a collection of movies, albums, performance, hamburgers the cream of the cultural crop, someone’s guaranteed to crap all over your determination. Apparently, it’s hard to remember that this is meant as some manner of individual perspective, not a mandated media benchmark by which all other conclusions are judged and joked about.
That being said, Spring makes such issues double tough. As we mentioned yesterday, Hollywood has tried over recent years to broadside the usual tally of terrible titles with occasionally inspired surprise hits. In 2008, Cloverfield and Forgetting Sarah Marshall made the January to May season totally tolerable. In 2007, we got Zodiac and Hot Fuzz. So it’s no surprise that SE&L could find five films that represent the top of the typical Tinsel Town trash heap. What remains incredible is the number of entries that barely missed out. Fans of the serious science fiction format were rewarded with Alex Proyas’ intriguing Knowing, though the final 15 minutes probably turned this doom and gloom thriller from a positive to a problem for many. Similarly, Crank: High Voltage is one of those ‘love it or loathe it’ efforts that will have so called film snobs snickering in half-hearted disbelief.
Monsters vs. Aliens was a hollow 3D treat, while I Love You Man proved the bro-mantic comedy could tolerate a little more seriousness. Horror even got some help in the popularity department with the cruel, crazy My Bloody Valentine update. In the end, the final five represents, at least from our perspective, what will be the most memorable, meaningful films come a final end of the year reconsideration. Of course they will stir controversy. Naturally, some of you will think we are insane. But the truth is - no list is conclusive. It’s all subjectivity passing itself off as objectivity, especially to people who enjoy piling on. So get your argumentative knives ready as we prepare to die the death of a thousand cinematic cuts. Here are the films Short Ends and Leader felt represented Spring 2009’s best, beginning with:
// Moving Pixels
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