fairly certain that my physics textbook snapchats are my greatest achievement in life
You always hear stories about the early hardcore days, when bands like Black Flag and Minor Threat had to figure out touring channels by themselves because nobody was doing it for them. D.I.Y. shows still happen, but they mostly happen through choice, not necessity. Now, there’s an indie rock infrastructure that pays a whole lot of people’s bills, including mine. But that whole era, where people were making shit up as they went along, was still going strong in the mid-to-late 90s. Teenage kids were convincing their parents to help them sweep up the North Baltimore storefront D.I.Y. spaces that they rented with their own money. They were selling Now & Laters at a concession stand and asking everyone to please be cool and not drink because they didn’t want the place to be busted. And the energy that these kids put in was enough to nurture and sustain bands like the Dismemberment Plan, bands that would help shape the indie universe for years to come. Maybe that’s still happening somewhere. I’d like to think so.
Tom Breihan, from Pitchfork’s 15 Writer/15 Songs anniversary feature talking about The Dismemberment Plan’s “Ellen and Ben”.
I don’t even think I’ve heard this song. Yet this piece comes up in my mind far too often for me not to have put this on my blog. I am not sure if it is aspiration, inspiration or just a nice little story. But it is something that I just love reading.(via dalatu)
MP3 interrupted what R&B was starting to be. It’s like taking an engine out of something and saying, “Now drive your car really fast.” It’s not going to happen. It’s the same thing that I deal with now. It takes a lot to put a 5-piece band on, even though we need it. We need those harmonies; I need those four background singers — not because I can’t sing but because I need to relay the message of what the song is emotionally, or the feeling, period. [From] a money standpoint, it didn’t really affect hip-hop — they could still keep going. You don’t need a band to do hip-hop; you only need a DJ.
That money — when it goes away, you can’t put on that show, which is where we are now. We can’t put on that show unless we make it somehow to a big awards thing and then, of course, that means your favorite R&B artist at some point better do an up-tempo record, or an electric record, so they can get there to perform. Other than that, someone like me is probably never going to perform on that stage unless there’s a certain person that’s sitting there that hears a record and says, “I’m putting this on regardless. I don’t care where it is on the radio, I’m just going to put it on.” But then, that’s a far cry, that’s like lightning in a bottle.
MP3 interrupted what R&B was turning into, so that’s why we’re going back. We kind of tried to fix it and technology is helping us out a lot, but it’s pretty hard to duplicate the fullness of what R&B had become at that time, and mood, with so little, whereas in hip-hop and rap and EDM and all those guys, they can do it with basically nothing.