Showing posts with label pseudo intellectuals. Show all posts
Showing posts with label pseudo intellectuals. Show all posts


Making Sense of the Obama Spotify Playlist


Full disclosure time: I voted for the man, I will be voting for the man, I did my bit for the man in various swing states, I shook his hand after I saw Bruce Springsteen open for him in Cleveland, and consider that one of the high points of my life. I am biased...


Today saw the release of President Obama’s Campaign 2012 Playlist on Spotify and the subsequent Internet hullabaloo as everybody pondered "what it all meant.”  Well, this is on the Internet, I can do hullabaloo, so here is what I think it all means:
  • The Obama campaign is hot to trot to get the pop culture vote. Having a setlist of songs to play at campaign events is one thing, but to put that setlist on the Facebook, Spotify, Google+ and stir the pot... that says that they are really targeting people who like and care about stuff.
  • In addition to shoring up his Baby Boomer support with the ELO and REO Speedwagon, the President’s campaign is definitely looking to lock in it’s indie credentials and the hipster vote. The Arcade Fire and Florence & the Machine is one thing, but the vintage 90’s Wilco? That’s a dead giveaway.


  • Some commentators are hilariously stupid. Case in point: the writers and pundits suggesting that President Obama picked all of these himself even though it's called "The Obama 2012 Campaign Playlist," or making hay out of the absence of rap music and the inclusion of country and thus indulging in some casual racism. Whoops. 
  • The Obama 2012 Campaign has a fine sense of humor because I am pretty sure the inclusion of U2’s “Even Better Than The Real Thing” is a very clever shot at Mitt Romney.
  • It shows that the President is popular with a lot of varied artists more than willing to let his campaign use their music, unlike his opponents who usually end up on the receiving end of restraining orders forbidding them from using this and that music at events.
  • It's 2012, and not even Spotify and music blogs are safe....

Cliff Parks


Lana Del Rey: Fact or Fiction?





I will try to be kind to Lana Del Rey.  I really will. I'm in one of my "generous of spirit" zones; my soccer team won over the weekend, the Sabres are off, it's a winter wonderland out there in Buffalo and I have contented joy in my heart. It's kind of weird actually. So, from that happy space I will endeavor to not bag on Lana Del Rey too badly even though she kind of deserves it. Why? Because even though it's frankly become a little too fashionable to let her have it, she is most definitely fiction, no question. 

I'm also loathe to bag on Lana Del Rey because it's in many respects exactly what she wants, because I strongly suspect that the debate over her realness is a calculated ploy. I distinctly remember the first time I beheld her. I was watching a dvr'd "120 Minutes" with my finger on the fast forward button (I check out a song and fast forward if I don't like it) and well, there was no way I was watching "Videogames" on fast forward. Naturally, I was spellbound by the perfection of the whole thing: her French film goddess looks and presentation, the impeccably tasteful video, the song itself... it all fit together perfectly. A little too perfectly. Because then I went to YouTube to watch more Lana Del Rey, including "Videogames" again, a video that I learned was directed by Del Rey herself, and my spider sense went crazy:




When I watched it on MTV, I didn't know exactly when the video that preceded it ended and when Del Rey's assembled footage video began, so I didn't notice that her video begins with what looks like a clip from a Gorillaz video... the ultimate manufactured music act. How droll. And then I read about the raging debate about whether she was a record industry creation, and how she was a one Lizzy Grant before transforming (or she was transformed) into "Lana Del Rey," singer songwriter and music video director. Indeed, the whole thing was ludicrously suspicious.  But then I started to think that maybe that clue came with too big a wink from the artist. Maybe she was playing a game with the blogosphere and the indie music fans who turned "Videogames" into an Internet sensation. Or perhaps her record company was  just stirring the pot and generating buzz. I even pondered the notion that Lana Del Rey's "realness" was inconsequential other than as a philosophical concept separate from art and commerce. It was starting to get a little Hitchcockian and high minded until it was announced that her first North American tv appearance was going to be on Saturday Night Live and then I knew there were shenanigans going on. 

Damn it I wanted Lana Del Rey to be real; I'm not sexist (I don't think), and I didn't want to be sexist and convey the notion that female artists can't present themselves fully formed as artists as if out of nowhere. Also, it would've been great if she was real. But SNL for her first tv appearance? With no album in stores? Come on now. How could the record industry's hand not be at work? In any case, all Lana Del Rey had to do was nail it and she'd be on her way. But she didn't. Sure her performance of "Videogames" was serviceable and not objectionable, but that's Lana's song, the tune that put her and that YouTube video on the map. It was her tuneless and strained  performance of "Blue Jeans" that made her fodder for a mighty Internet backlash. I didn't know who I felt bad for more: her for being caught up in a machine that presented her as a fully formed artist and put her on SNL before her she was actually fully formed, or myself because she was woeful, so woeful that even NBC's Brian Williams felt compelled to comment.

That said, for some reason I'm still intrigued by Lana Del Rey's debut album Born To Die out this week. While by no means will I be running out to buy it (that money will be saved for the new of Montreal album out next week), I am still fascinated by this fabricated ingenue and her increasingly tangled yet compelling narrative- for now. Indeed, maybe she was born to die metaphorically ... for a struggling record industry and it's numerous sins. In many ways, I'm also still dying to find out if I'm right about her. This inquiring mind still wants to know.


Damn. Apparently Lana Del Rey gets what she wants, whether I like it or not.




Cliff Parks


Concert Review: Pseudo Intellectuals




Buffalo’s own Pseudo Intellectuals played to a hyped up crowd at the Slyboots School of Music on Friday, and it was a family affair all night long. Beatmaker Tone Atlas had his wife, mother and cousin in attendance, and album guest star (and brother) Nick Zero made a surprise appearance on stage towards the end of the show, to the crowd’s amazement and enjoyment. Wearing a mask and a Vancouver Canucks' jersey with his last name emblazened on the back, Nick slipped onstage to cheers and performed one of his best and well-known tracks, the piano-driven Keep Diggin Watson.

The Buffalo hip hop community is close-knit, and the excited yet intimate crowd felt like playing at a family reunion. Almost 200 people crowded into the small school to listen to the many acts who performed. From the breakdancers to the frenetic Zulu dance group that kicked off the evening to emcee A.L.Third’s amazing cover of Common’s "I Used to Love H.E.R." that had the crowd rhyming along with him, the entire evening had the crowd dancing and singing.

Rhubarb’s own Nick Gonzales accompanied Pseudo throughout their high energy set, the strings providing an excellent contrast to the beats and breaks provided by Tone and DJ Cutler. Cutler, clad in a Rust Belt tee, kept the crowd moving all night, even after the venue ran out of beer.

The $11 admission came with a Pseudo Intellectuals CD, coffee mug or pint glass, and those who opted for the glass were seen sipping from them all evening long. Not even running out of brew, or the technical difficulties that occurred towards the end of the show, could put a damper on the evening.

This show marked the first time in years that the original members of Pseudo performed onstage together, and the chemistry was evident in the between-songs banter they had. Any fan of Buffalo’s underground hip hop scene knows how big Pseudo is, and how big this record is going to be.

If you missed the show, you can still hear the music: Dope Grindwork is available for purchase on Amazon.com and iTunes. Don’t sleep on this album; it’s already sold out on Amazon.

Guest Writer


Tonight: Pseudo Intellectuals




They might call themselves the Pseudo Intellectuals, but there is nothing fake about the talent that is Tone Atlas and DJ Cutler. Buffalo born and raised, the duo are truly local hip hop heroes, combining jazzy beats and thoughtful lyrics to create a fresh sound that is also very old school.

Says show cohost Seamus Gallivan: “The Pseudo Intellectuals combine a deep craftsmanship for new sounds in hip hop with an inviting sense of irreverence and hometown pride...they deserve to be celebrated as creative innovators of the Buffalo sound.”

Tonight (11.11.11) their latest effort, Dope Grindwork, is being launched at the Slyboots School of Music. The venue, located at 350 Ellicott St. in Buffalo, is the perfect location to celebrate the collaboration of local talent featured on the album. The show kicks off at 9:30, and tickets are $11 before 11pm. Your ticket will also get you a copy of the album, or a commemorative coffee mug or pint glass.

Hosted by Shane “Bboy” Depree and Seamus Gallivan, the show is a celebration of local talent, and features artists VJ Brown, A.L. Third, 25 Metro, Shuteyes, Dr. oOo, and Rhubarb’s own Nick Gonzales.

14 And by Pseudo Intellectuals

Guest Writer