dubplatestyle
Well-known member
i think what bothers me most about discussions like this is that if these publications people seem to hate so much are actually reviewing these records, it's because <i>they have entered into mass culture</i>. like in a few weeks, when my store will begin selling <i>run the road</i> to middle class suburban white people in america. (or probably NOT sell any copies of it, but you get the idea.) despite stelfox's snotty dismissiveness, the fact that the seattle weekly lets me review grime mixtapes (aim high volume one, lord of the decks) is <i>not the norm</i>. most editors, in america at least, are loathe to assign anything that their readership can easily procure at the conspicuous consumption location of their choice. (the voice gave me a little grief about covering wiley and the "i luv u" single before american distribution was assured.) and if you're throwing product out to that large of an undifferentiated mass, then yr just going to have to deal with multiple viewpoints/interpretations/opinions. (mostly i would guess "the scene" is more pissed off by LACK of interest than poor reporting.) getting yr facts straight and doing your homework is a problem for EVERYONE in every industry these days. we live in lazy times.
signed.
jess
(who published one of the first pieces on "garage rap" in america [<i>chicago reader</i>, jan. 31st 2003] and is as protective of it as anyone, even as he realizes he cares less than ever, precisely because of the shit-or-get-off-the-pot aspects of it.)
p.s. the only review i saw of logan's mix cd was in the fader, possibly the trendiest american rag extant at the moment.
signed.
jess
(who published one of the first pieces on "garage rap" in america [<i>chicago reader</i>, jan. 31st 2003] and is as protective of it as anyone, even as he realizes he cares less than ever, precisely because of the shit-or-get-off-the-pot aspects of it.)
p.s. the only review i saw of logan's mix cd was in the fader, possibly the trendiest american rag extant at the moment.