Latest Blog Posts

by Rob Horning

9 Oct 2008

The abstract of a new study published in the Journal of Applied Social Psychology suggests that girls don’t get “heavy music”:

The present study extended previous findings of gender differences in young people’s musical taste by examining whether identification with gender-related expressive or instrumental traits contributes to these differences, and by examining the underlying structure of musical taste by gender. The results confirmed greater liking of heavier contemporary music among men and of chart pop music among women. Gender was a stronger predictor of taste for gender-stereotyped styles than identification with gender-related traits. The structure of style preferences in dimensions relating to mainstream styles varied by gender. Men and participants with higher scores on expressiveness gave higher ratings to more styles. The findings are discussed in relation to gender differences in the use of music and gender-role socialization.


by L.B. Jeffries

8 Oct 2008

With the conventions over and vice presidents chosen, the electoral process is in full gear in America. Both sides have chosen candidates based on the gimmicks and audience they claim as their base, manifesting political divisions that have existed since Nixon first launched a campaign based on these nonsensical cultural divides. As an impressively neutral column over at The Economist explains, any hope of those cultural divides being put aside for the sake of saving our Nation have been all but forgotten. The Republicans all jeer about the liberal media whenever the flaws in their platform are pointed out, the Democrats ignore every flaw in their economic plan that doesn’t involve taxing the rich. Palin is legitimately inexperienced and ignorant of anything beyond the few issues she dealt with in Alaska. Obama’s inexperience is equally a legitimate point, making the Third party arguments more interesting than ever before in this election. And the fact that I’m comparing the Vice-Presidential nomination and the Presidential nomination’s qualifications instead of say, how they plan on saving the economy, speaks volumes about how idiotic the process has finally become. We will, as with the past two elections, get the President we deserve in this country.

I was not overly kind in my review of Stardock’s The Political Machine 2008 but I also admitted that I could very easily be biased because I just wasn’t in the mood for a lighthearted game about Presidential Elections. I’m not sure many Americans are at this point. Yet it must be conceded that any game that induces some kind of discussion about the election has value. Stardock has recently released a free to download shrunken version of their game that takes away your ability to make up candidates or tweak variables. Instead, you play as Obama/Biden or McCain/Palin in a set 24 week period. Just the mere act of pumping deceitful ads and tweaking your campaign message to your target state as a player heightens one’s awareness of the process in the real world. It is still not the deep and complex experience I pined for in my review, but perhaps it does not need to be. Whether you’re painting Obama as a snooty liberal or McCain as a dying old man, participating in the action raises awareness. And if we can do that, perhaps we’ll deserve a better leader than the ones we’ve been getting.

by Bill Gibron

8 Oct 2008

Poor Clint Howard. It must really be a pain in the package having ultra-high-profile Oscar-winning long-time American sitcom favorite goody-two-shoes talent-hog Ron as a brother. While Big Brother’s off making movies with Russell Crowe and collecting big fat residual checks from Happy Days and his various Imagine Entertainment products, you’re stuck playing insane shlubs in B-movie muck like Ice Cream Man and The Dentist II. And that glory-hoarding older sibling has to rub it in, handing out minor roles in his movies like pity dates (probably at the behest of the rest of the Howard clan) to his balding bro.

Though Clint claims to be content with letting his redheaded relative cop all the limelight while he basks in the dank, dreary coolness of the celebrity afterglow, one always senses a secret angst and/or anger whenever he discusses one Opie Cunningham. It’s not the Gentle Ben or tranya questions that seem to push his buttons, nor does he feel ashamed of such onscreen stinkers as Barb Wire, Carnosaur, or Leprechaun II. But mention the fact that “Ron” is making some big-budget epic about the actual discovery of the meaning of life, and Clint’s goofy gap-toothed smile goes just a little crooked. The glint leaves his eye and a deep-seated seething starts. Suddenly, he’s on the defensive and ducking even the obvious softballs lobbed at him. You just know Clint is an angry wannabe auteur just waiting for the world to recognize his own special gifts. Otherwise, why would he be so convincing as the put-upon orphan who’s the butt of all the jokes at his private military academy in Evilspeak? It’s got to be low-self-esteem sense memory!

Thanks to the do-gooders over at the welfare bureau, newly orphaned Stanley Coopersmith gets the privilege of going to school at the snooty West Andover Military Academy, whose motto is “Never Pick on Someone Your Own Size.” From the moment he arrived on campus, Stanley became the school’s resident scapegoat. All the teachers think he’s a slacker. All the students think he’s a wanker. And because he’s a government sponsored poverty case, he’s treated like an indentured servant (go figure).

Anyway, while cleaning out the basement of the chapel, Stanley stumbles across a couple of things. One is Sarge, an alcoholic arsehole who loves to torment the cadets. The other is a secret passage to an underground lair. Stanley discovers that it is the primeval domain of Esteban, a 15th century defrocked priest and certified Satan worshipper. Since our hero hates how everyone on campus treats him, he decides to call up the powers of Darkness to do his own unholy bidding. Besides, he’s really sick and tired of being called ‘Cooperdick’ all the time.

Hooking up the ultimate instrument of evil—an Apple II—and typing in Latin terms from an ancient manuscript, Stanley soon has the man-goat making down pat. Teachers are impaled on spikes, and crusty-curious old Sarge discovers the ultimate neck massage. But when the jock jokes of the school use Stanley’s pet pooch as a pincushion, all Heck really breaks loose. Stanley completes the CPU sacrifice and before you know it, his fallen-angel avenger has arrived to help him get all Evilspeak on their asses.

You have to acknowledge one thing about Clint’s character, Stanley Coopersmith, in this film. Even though he’s really a minor presence in the everyday running of the school, he has somehow managed to be at or near the core of every issue, both administratively and personally, for most of the staff and student body. Though he is no more portly than most boys, he is ragged on and called fat. Though there are dozens of other nogoodniks around, he seems to be stuck doing all the dirty grunt work. And while he does resemble a wild albino chipmunk with hairline issues, that’s really no excuse to treat him like an animal. He’s the reason why the soccer team is losing, why the school’s reputation is sullied, and why the pigsties still stink.

To West Andover Military Academy, Stanley is the dark cloud on Inspection Day, a Democrat in the White House, and freeze-dried peas in the K-rations. And yet, when mysterious deaths and disappearances start happening, and the once-reliable whipping boy goes missing for hours on end, no one seems the least suspicious. As long as he’s around to be picked on, Stanley has free reign to commune with whomever he wants. So, naturally, a date with the Devil is not so far-fetched.

If you were raised on the hackneyed horror of the late ‘70s and ‘80s, then Evilspeak will be like paging through the yearbook of Missed Opportunities High School, Class of ‘81. This movie has so many good things going for it, that when it finally flops over onto its back and bares its soft, static underbelly, you get a tad perturbed. There is Howard’s unhinged performance, an odd reinterpretation of Carrie as a boy who shops in the husky department at Sears. Then we’ve got the homoerotic shirtlessness of Luca Brazzi, a.k.a. Lenny Montana, the only cafeteria chef at an all-boys school who doesn’t wear a shirt under his apron. R.G. Armstrong’s drunken dope Sarge is a miserable menace that doesn’t hear the numerous pranks and demonic spunk going on around him, but wakes up whenever someone drops a book.

And of course, who could forget, the Satanic Pigs of Hate! That’s right, for no real reason except to have killer porkers in the narrative, Evilspeak employs dozens of Hell’s heinous ham factories to feast on the flesh of infidels. They tear out organs and rip off heads. They chase a naked babe into a shower, giving a whole new meaning to “makin’ bacon in the bathtub.” And when Clint finally figures out the formula for resurrecting the excommunicated priest Esteban (no, not the sunglass-wearing, guitar-shilling infomercial king. That’s a whole other kind of evil), he sends the swine assassins to wipe out the entire soccer team. Let’s face it, this movie should have really been about Beelzebub’s badass blood-and-guts boars, and left all of the bullying boyhood trauma to John Hughes. No amount of the red stuff—and there is plenty here—can make up for what happens to this movie during its second act.

Evilspeak is indeed a film backheavy on gore. Coopersmith spends so much time getting picked on and blamed that you sit back and wait for his persecutors to pay. And you wait. And you wait. And you wait. Indeed, as the entire middle section of the movie meanders around from obvious grabs at sentimentality (the entire cook/puppy portions) to attempts to stay in tune with the demographic (a Miss Heavy Artillery Contest, the aforementioned nude bathroom romp) Evilspeak loses its spark. What started as a standard wish fulfillment/revenge scheme mixed with Satanism flounders with a lack of focus.

Not even the novelty of the computer (back then, about as sci-fi as the butt-kicking androids of I, Robot) conjuring up the Black Mass in easy-to-program PASCAL can save the slide. So when all the grue comes blasting at the screen (to ape a certain Texas Drive-In expert: “Heads roll. Intestines roll. Hearts roll.”), it’s a little too late. Actually, it’s a couple dozen gallons-full too late. With some of the deleted sinew restored in this remaster of the movie, the end elements of iniquity are particularly ooey, gooey, nasty, and fright-flick satisfying. But unless you find a way to entertain yourself until the soft tissue starts soaring, you’ll find Evilspeak as dull as a demonic quilting bee.

by Rob Horning

8 Oct 2008

I tend not to be sentimental about the loss of great packaging for music. Stripping music of its container is of course impossible, but it remains in my mind the ideal worth trying to approach, so that in listening to songs I am not merely vicariously experiencing the thrill of getting to pretend to be the rock star who made it or believe I’ve joined some subversive cult of insiders or that I’m living some glamorous luxe life. But in some ways, pop music is the province of consuming cultural images and claiming ownership of certain aspects of the zeitgeist. This is why it is often inseparable from the hype that otherwise seems to encrust and suffocate it. If I were serious about approach my ideal, I’d probably invest more time in classical music, which comes with far fewer signaling aspects—aside from the great big one that you consider yourself to good for common contemporary culture. It would inevitably betoken an unwillingness to participate in the now.

Anyway, the only place I see album covers in the flesh these days is in thrift stores, and I never know what the album covers of new records look like. I couldn’t possibly tell you what a My Morning Jacket album cover looks like, even though I am pretty sure iTunes has downloaded little jpegs for them automatically. This hasn’t affected my appreciation of the albums at all, and may in fact have enhanced it. If I knew how they were trying to represent themselves, I’d probably be annoyed; as it is I can pretend they are Neil Young and Crazy Horse.

But when I look at posts at the excellent LP Cover Lover blog, I realize that some album covers were far more important than the music contained on the vinyl within them, and that that music is basically unthinkable and certainly would have been unsellable without the context-establishing images the covers provided. Consider this cover, for A Moment of Desire  by Jay Clever and his Orchestra. It’s on the sleazy end of the spectrum, to be sure, but it’s emblematic of scores of easy listening albums from the 1950s and 1960s, when adults made up the bulk of the record-buying public. The cover gives no indication of what the music will sound like, but that makes it even more likely that it will determine what we hear when we listen. Obviously the goal of the cover is to persuade consumers that this record will make a sexy soundscape in the immediate proximity of their hi-fi set. I’m skeptical whether music can be inherently “sexy,” but the ambiguity of that question makes covers like this one effective; it opens the space for images to be created in one medium and translated into an entirely different experience. This is also how ads are meant to work; through contiguity and juxtaposition, products are associated with more or less unrelated emotional states. They tend to work because we want to believe its true, that instrumentally conjuring a feeling is just that easy.

by Jason Gross

8 Oct 2008

As I was reading through this Advertising Age article about how the recession is going to hit local publications, an unsettling thought occurred me besides the very frightening fact that my retirement fund was quickly disappearing.  It’s obvious that this economic downturn is going to have a terrible impact on the music industry, which already hasn’t been seeing a lot of rosy days lately.

Already, the trend was that while CD sales were slumping, digital sales were rising but not enough to take up the slack.  That’s been the big thing hurting the majors other than their short-sighted digital strategies (which kind of goes hand in hand actually).  Obviously with people having less money to spend on music, in CD or MP3 format, what do you think’s gonna happen to sales?  Yep, they’re going to sink… even more. 

What that means is that people will buy less and may migrate even more to the unauthorized download services to get their music when they want it.  Even Apple won’t be immune- less money flowing means less money for iPods, which is where they’d ideally be cashing in.  It may also mean that the big retailers who sell almost as much physical product at their stores will cut back on CD’s even further with less demand.  It may also signal even more music stores (big and small) closing down which were already suffering from the digital competition.  It’s especially bad timing for MySpace who just opened their digital store and were hoping to become an even bigger player in the music marketplace- at least they can blame their crappy sales on the economy as opposed to their flawed business model (which gives them pennies for songs which they have to overpay for sale).

For the big labels themselves, even after all the bloodletting that they’ve done in recent years, they’re going to have to go into overdrive printing out pink slips- cutting even more and more staff to keep their masters on Wall Street happy.  Needless to say, they’re gonna become even MORE selective about who they sign now- it’s getting to be a smaller and smaller number and having to shrink that even more is gonna make it even harder to squeeze more money out of less artists.

One solution?  Even if Apple isn’t happy about flexible pricing, artists and labels may fiddle with the idea until they find the right balance that gets them some money at least and keeps the fans buying something.  Also, going with singles or EPs for now and spacing out more the time between albums might be a good idea unless you wanna experiment with the pricing for the later.

Yep, this is going to sink too, as fans will have to decide how much they need a shirt or poster or special edition thingy compared to paying for gas, bills and the other vital things of life.  This is especially bad for bands who are relying more and more on these kinds of sales as album sales plummet.  Because many of these kind of items are designed and ordered in advance, these groups are going to be stuck with a mountain of merch that they probably can’t sell or be forced to try to push them at cut prices, which might mean a good bargain for consumers, but tougher times for musicians.  Another idea might be to start selling some more modest, cheaper items that are easier for fans to shell out for- buttons, wristbands, frameable photos, pendants, voodoo dolls, etc..

Ouch again.  There was already a shake-up coming with Live Nation breaking away from Ticketmaster but with fans having less money to spend on shows, every player here is going to hurt.  Pity any stadium band about to launch a big tour now and finding that fans can’t dish out $100 for the cheap seats anymore. 

Fans are going to be more picky about who they’re going to see, which might actually hurt smaller bands worse- if a consumer has to chose between an old favorite and a newer band that they’re going to take a chance on, most people are gonna probably go for the ol’ faves.  But that’s also going to be a problem if more than one big act is touring at once with similar fan bases, making fans having to chose which one to see instead of going to both shows.

One solution might be package tours which give fans more bang for the buck (sorry, I hate that phrase too).  A great recent example was Kanye West who toured with Rhianna & N.E.R.D. & Lupe Fiasco- any one of them would have been headliners otherwise in most venues but having them all together for one night was an amazing package that’s hard to resist.  There’s also ‘house concerts’ (aka private shows) that a group of fans might be willing to dish out for and there’s also a neat widget at MySpace that allows people in a certain area to vote if they’d come out to see you (if you have a lot of people giving the nod in a certain town, then maybe you should be booking there).

Less money = smaller budgets and less money to spend on music for films and shows.  Bad news, right?  Maybe not.  Entertainment on the big and small screen needs to have tunes but less money for it might benefit small, less known bands who don’t have to command big advances for their music.  Nevertheless, as money dries up, producers looking to tighten belts will also have to decide on using less music for their projects, which will mean less opportunities out there for bands to make money this way and get their name out there.

Less profits of course mean less money for advertising, which again means less budgets for ads and less money to spend on music for ads.  But again, this might benefit the li’l bands that don’t ask for a big advance to have their songs included in ads.  It may also mean less money for them when their songs are used in ads and also less opportunities once again.

It’s obvious- you should break up and join a more lucrative business immediately, if there’s any left.

OK, let’s be a little more positive here… I tried to outline a few silver linings and opportunities but it’s obviously gonna get harder and harder.  The most important thing you might be able to do now as a performer is to be practical and realistic.  You’re not gonna sell as many albums or shirts or tickets as you did before so you’re gonna have to scale back.  That doesn’t mean that you should take down your MySpace page or take your songs off of iTunes or withdraw from imeem, last.fm or elsewhere.  You’ll have to scale back on costs such as production or the amount of touring you do (instead targeting areas that you’re comfortable with) and what you offer for sale.  You’ll also keep your eyes and ears open for other opportunities that come up online or offline as technology is still marching ahead with new ideas.

Most of all, don’t throw in the towel.  In bad times like this, we need good music more than ever.  And for you consumers, try to support bands as you can and when you can.  You’ll miss ‘em and you’ll need ‘em, trust me.

//Mixed media

Cage the Elephant Ignite Central Park with Kickoff for Summerstage Season

// Notes from the Road

"Cage the Elephant rocked two sold-out nights at Summerstage and return to NYC for a free show May 29th. Info on that and a preview of the full Summerstage schedule is here.

READ the article