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Jayson Greene: How Indie Went Pop—and Pop Went Indie—in the 2010s (Pitchfork)
Jayson Greene: How Indie Went Pop—and Pop Went Indie—in the 2010s (Pitchfork)
Your unconscious mind, it turns out, does not care what label a piece of music comes out on. It doesn’t care much about the artistic ethics behind it, either. Which means that the artists having the most fun in this new playground, at least creatively speaking, are the ones like Charli and Vernon—the ones who make the most of collaborative possibilities and don’t ask anyone listening to make distinctions about where any of their influences came from. That may sound jarringly utopian for a mostly dystopic moment, but if there is one thing we still want from pop music, even if the lyrics are downcast, it is a sense of possibility, of endless horizons.
·pitchfork.com·
Jayson Greene: How Indie Went Pop—and Pop Went Indie—in the 2010s (Pitchfork)
Steven Hyden: Adam Sandler's inexorable march toward truth (Grantland)
Steven Hyden: Adam Sandler's inexorable march toward truth (Grantland)
Sandler's truth is that his onscreen persona has aged with his fans and experienced the same things at roughly the same time they've experienced it. Over the course of 20 years, Adam Sandler has gone from being a staple of sleepovers to dorm rooms to lousy apartments to the suburbs. And in that time he's remained, essentially, the same guy: He's "That asshole!," the incorrigible dickwad with a heart of gold, the loudmouth buddy who's progressively less fun to hang out with as you get older, the dude your wife forbids from crashing on the couch for "just a few days, I swear."
·grantland.com·
Steven Hyden: Adam Sandler's inexorable march toward truth (Grantland)
NYMag: We Must Be Superstars by Nitsuh Abebe
NYMag: We Must Be Superstars by Nitsuh Abebe
“And if you want to talk about pop music between 1980 and now, that issue—the question of who’s singing and who’s being sung to—is an important one. The study assumes that hit singles in the eighties and hit singles in the new millennium play the same role in our culture. But over the past 30 years, the weekly charts have seen changes a lot more significant than any surge of ego. It’s not just that pop’s audience has changed; it’s that its whole purpose has.”
·nymag.com·
NYMag: We Must Be Superstars by Nitsuh Abebe