Read e-book online Best Music Writing 2008 PDF

By Nelson George, Daphne Carr

The 9th access within the acclaimed sequence celebrating the simplest writing on each sort of track, from rock to hip-hop, R&B to jazz, pop to blues, and extra.

Best song writing is the definitive consultant to the 12 months in song writing, an annual ceremonial dinner of essays, missives, and musings on each musical type by way of critics, novelists, and musicians themselves. Culled from courses starting from blogs to the New Yorker, the 2008 version captures a yr in tune writing as different and riveting because the song it illuminates.

Writers who've seemed in Best track Writing comprise: Greil Marcus, Sarah Vowell, Nick Tosches, Jonathan Lethem, Dave Eggers, David Rakoff, David Hadju, Lenny Kaye, The Onion, Gary Giddins, Jessica Hopper, Luc Sante, Kelefa Sanneh, David Byrne, Daphne A. Brooks, Jody Rosen, Anne Midgette, Sasha Frere-Jones, Elizabeth MГ©ndez Berry, Alex Ross, TourГ©, Lynn Hirschberg, Chuck Klosterman, Elizabeth Gilbert, Jay McInerney, Elvis Costello, Susan Orlean, Mike Doughty, Lorraine Ali, and plenty of more.

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The 9th access within the acclaimed sequence celebrating the simplest writing on each variety of tune, from rock to hip-hop, R&B to jazz, pop to blues, and extra. top song writing is the definitive advisor to the yr in tune writing, an annual banquet of essays, missives, and musings on each musical kind via critics, novelists, and musicians themselves.

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What about the second album, or the third? Why did indie rock seem to have become wave after wave of disposable new bands? “You have these bands working really, really hard, they’re writing great songs, they’ve had five years maybe; and their best material is going to make it on their first album,” Richards said. ” Richards said he now assumed that he would not even see second albums, no matter how good their sound. “Even an Annuals,” he said. “I’m not even thinking about a second album from them.

No one understands the murky, download-rampaged world of major-label rap better than Soulja Boy. After all, the kid was born in 1990. To his generation, old-school means a world pre-MySpace/YouTube. Unabashedly expressing his admiration for 50 Cent, Soulja Boy has taken his idol’s mogul aspirations and draped them in the familiar aesthetics of the cash- and status-crazed world of the post–Cash Money/Bling era of hip-hop, while using the Net to create a grassroots fan base from scratch. Think of him as one part Lonely Girl, one part Bruce Barton and one part Dem Franchise Boyz, a product of the sort of blurry meld of art and commerce that has inexorably marched on since the day Andy Warhol made his first silk-screen, or at the very least the moment Run-DMC sewed up their first Adidas.

An exuberant but thoughtful blond-surfer type, Kubler drank a Sapporo beer and explained how radically the Internet had changed his life on the road. His previous band existed before the Web became ubiquitous, and each town it visited was a mystery: Would 20 people come out? Would two? When the Hold Steady formed four years ago, Kubler immediately signed up for MySpace page, later adding a discussion board, and curious fans were drawn in like iron filings to a magnet. Now the band’s board teems with fans asking technical questions about Kubler’s guitars, swapping bootlegged MP3 recordings of live gigs with each other, organizing carpool drives to see the band.

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