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Metablog blogging

I'm a poor judge, perhaps, but Sarah Boxer's chin-scratching piece about blogs for the New York Review of Books seems a few years behind the curve. Are people really only discovering now that writing in these so-called "blogs" is more spontaneous and unedited than finished, reported pieces? That it relies on a currency of "links" that take you from one "website" to another on what bloggers playfully call the "internets"? That people who write blogs like attention, which is often their only form of compensation? That blogging is performative?

Boxer was apparently commissioned to compile blog excerpts for a book, and she rightly notes that the idea is somewhat futile; the act of editing (as opposed to linking) blog material would tend to denature it and remove it from the base upon which it relies, the immediate access to the rest of the internet, even if its just to fact check some outrageous claim that's been made. There may be nothing outside the text, to paraphrase Barthes, but books still seek to create that illusion, while blogs are fully comfortable with intertextuality and their discourse is entirely enriched by it. I would personally find it inconceivable to be reading one blog in isolation -- reading blogs means diving into the blogosphere, as part of your routine, in small bites between other bursts of computer-assisted productivity. And it requires the RSS feed aggregator (like Google Reader, for example), which is the blog-equivalent of a book, only it is always growing and requires constant grooming and tending. It makes the idea of someone else compiling seem redundant and limited -- a book about blogs would only satsify someone who didn't really get them, thus all the books about blogs tend to condemn them and their offenses against language and "ethics," as if journalists would hold themselves to any standard without the threat of libel.

Boxer hails blogging as a realm of viturperative underdogs -- a version of the notion n+1 floated about Gawker:

Bloggers are golden when they're at the bottom of the heap, kicking up. Give them a salary, a book contract, or a press credential, though, and it just isn't the same. (And this includes, for the most part, the blogs set up by magazines, companies, and newspapers.) Why? When you write for pay, you worry about lawsuits, sentence structure, and word choice. You worry about your boss, your publisher, your mother, and your superego looking over your shoulder. And that's no way to blog.

Perhaps I am biased by the corner of the blogosphere that I tend to visit (I don't read gossip blogs, for example), but blogging is starting to be professionalized, with able bloggers being taken up by traditional publications seeking to develop an online presence -- Megan McArdle, Matt Yglesias, and Ross Douthat at the Atlantic, for instance. A career path will take shape for those who want to blog professionally, who want to be public thinkers responding in real time to events in a given field of expertise. And the unaffiliated and unpaid will sink to a backdrop, on social network pages, perhaps, and be read mainly by friends and acquaintances. And blog haters will be curled up with their Strunk and White somewhere, fighting the dumb fight against the evolution of living languages.

Music

The Best Indie Rock of 2017

Photo courtesy of Matador Records

The indie rock genre is wide and unwieldy, but the musicians selected here share an awareness of one's place on the cultural-historical timeline.

Indie rock may be one of the most fluid and intangible terms currently imposed upon musicians. It holds no real indication of what the music will sound like and many of the artists aren't even independent. But more than a sonic indicator, indie rock represents a spirit. It's a spirit found where folk songsters and punk rockers come together to dialogue about what they're fed up with in mainstream culture. In so doing they uplift each other and celebrate each other's unique qualities.

With that in mind, our list of 2017's best indie rock albums ranges from melancholy to upbeat, defiant to uplifting, serious to seriously goofy. As always, it's hard to pick the best ten albums that represent the year, especially in such a broad category. Artists like King Gizzard & the Lizard Wizard had a heck of a year, putting out four albums. Although they might fit nicer in progressive rock than here. Artists like Father John Misty don't quite fit the indie rock mold in our estimation. Foxygen, Mackenzie Keefe, Broken Social Scene, Sorority Noise, Sheer Mag... this list of excellent bands that had worthy cuts this year goes on. But ultimately, here are the ten we deemed most worthy of recognition in 2017.

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From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

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It's ironic that by injecting a shot of cynicism into this glorified soap opera, Johnson provides the most satisfying explanation yet for the significance of The Force.

Despite J.J. Abrams successfully resuscitating the Star Wars franchise with 2015's Star Wars: The Force Awakens, many fans were still left yearning for something new. It was comforting to see old familiar faces from a galaxy far, far away, but casual fans were unlikely to tolerate another greatest hits collection from a franchise already plagued by compositional overlap (to put it kindly).

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Yeah Yeah Yeahs played a few US shows to support the expanded reissue of their debut Fever to Tell.

Although they played a gig last year for an after-party for a Mick Rock doc, the Yeah Yeah Yeahs hadn't played a proper NYC show in four years before their Kings Theatre gig on November 7th, 2017. It was the last of only a handful of gigs, and the only one on the East coast.

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