It was an obvious pandering after last year’s “women step up” fiasco.

Batshit, too long, and a total mess of a film. But some really beautiful shots of forest.

I wanted to specifically see that during that performance, but it was too cringe to pay attention throughout and i missed it.

… Someone will gif it

And his behind the armor of positive empowerment. It’s not a wonderful thing if you use it to distract from your more assholish tendencies.

people decided Lizzo sucked when she doxxed her postmates delivery guy, said music critics shouldn’t have jobs, and decided not to give credit to people who helped write her songs.

Lizzo’s opening medley was a reminder that she was charming and wildly talented long before she started to feel like a cliché.

Crazy how quickly so many people have decided that Lizzo is uncool. In March Chris wrote that she was “a full-fledged star. A charismatic presence capable of nailing glory notes, hitting her steps, and unfurling nasty flute solos, she’s both unique and uniquely accessible. If radio stations ever figure out ‘Juice’ belongs in heavy rotation, watch out. Actually, watch out either way. Lizzo cannot be contained.” I don’t even think she’s put out any new music between then and now.

Oh absolutely. I’m sure someone out there committed a terrible crime after listening to Shinedown.

If you really want to know it’s probably hyphenated. shit-show.

The last book I remember seeing on there was “Harry Potter and the Deathly Hallows” way back in 2007. It’s been a dark time since then.

A full record of U2 collabs, plz.

“…a record completely on their own with no rules…”

I feel certain this must be the most acclaimed bedroom album ever? Two kids with a laptop in their bedroom, using all of pop music as a template for ripping up the rules, I’m all for it.

I think the closest they’ve come to awarding the most critically acclaimed album was just last year (sorry, 2018) when Golden Hour was very highly rated and ranked in year-end lists and won AOTY, which was seen as a rare thing.

Both and Finneas’ reactions in the above video speak volumes about their levity (at least at surface level):
Billie: “please don’t be me”
Announcer: “BILLIE EILISH”
Finneas: *fuck, kill me…*
Billie: *URGH*

do a shy guy from mario. easy

I believe in you.

The Thin Place was a great book I used Metacritic to discover.

legend

Remember when Metacritic briefly aggregated books?

batshit, wasn’t it?

I’m very indecisive when it comes to these kinds of decisions.

If avatars weren’t easy to get, I’d not have to remind you.

Interesting.

Oh, you’re using the old oxford bible translation. Thanks man!

Email Sean Agnew, cp. He gets shit done.

I saw it Saturday!

I will be the first to admit that I can’t shut up about Poptimism but I would definitely not call it a micro-trend when it significantly altered the editorial direction of most internet music publications that survived this decade.

Poptimism went too far in like 2015. People want to be comfortable now and you are a bad person if you dare to suggest that people leave their comfort zone, whether it be in music taste or snack foods.

Yup. The grammys would pretty much have to be an entirely different institution if they had the capacity to acknowledge an artist like that.

you?

100%. it’s possible however for someone like Billie (mainstream, radio pop) to touch someone in a way like a i,i or purple mountains would.

see Lorde’s Melodrama

you wrote a whole lot and I have to say Dan – i really enjoy talking with you because you seriously engage with people on this site – but still have fun.

i do not think independent musicians are entitled to coverage by independent music journalism, however – i think indie music journalism needs to think long and hard about the coverage they provide to musicians who are not independent and don’t necessarily need the coverage. i guess to a certain degree this can sound like an indirect way of saying indie musicians are entitled to that coverage but i digress. p4k recently re-reviewed (and i want to point out, rather favorably) all of Taylor Swift’s discography just before thanksgiving of 2019. taylor swift is selling out arenas, and has a netflix movie premiering at Sundance. she doesn’t need pitchfork to go back and revise the criticism they already published.

i also think that just because some one is commercially huge, non-indie, whatever-you-want-to-call-it, doesn’t mean they can’t make critically, culturally and commercially important records. you cite Kanye, and I agree that he does not need any help from any press and that he can check the box on all 3 of those types of importance with a couple of his records.

most importantly, the whole idea of poptism doesn’t relate to the coverage of artists that I say is good vs not good, (i actually thought that was rockism) but moreso with the evaluation of what’s currently the taste of the *average* music fan. the average music fan’s music taste can be great, but it also narrow and extremely specific, dominated by artists with far more resources with forces who are primarily trying to make money, with pushing the boundaries of art a secondary objective.

i don’t think any artist/genre/etc. from a journalistic perspective is worth covering than another, but awarding music that can block out other music with trophies and declarations of ‘record of the year’ – that’s not good IMO.

And btw, i’m not a billie eilish fan – but i do think she represents a future where someone can make a record completely on their own with no rules and nobody to answer to, and have it be the biggest and most celebrated record out there. And that’s a good thing.

Who is CP?

can confirm that CP is really, really good-looking

He got a huge pop from the crowd and my guy was looking shredding. So much fun and so many potential dream matches you can run with him at Wrestlemania this year.