Condé Nast buys Pitchfork Media.

C-poots wrote: I suspect you were joking undo.

C-poots wrote:Ryan S. on the other hand is walking away with a big load of cash and from what I know, that feels good.

undo wrote:

C-poots wrote: I suspect you were joking undo.

I remember the days of the American Apparel banner ads and I haven't seen anything like that in years and not because of ad-blockers because I've been on the site with a lot of computers that don't have any of that on it. Maybe they've become so inconspicuous that I don't even notice them today, I don't know.

How much profit do they really make from the festivals? Probably a lot but it never struck me as the kind of thing to do for the purposes of keeping the site running every day.

Nick wrote: This "Oh I haven't read that site in years" attitude that I don't understand.

Nick wrote:Gotta create that content bro.

At first, Frank Ocean was simply a great storyteller. Then he became the story—an avatar 4 all of our fluid modern ideals. He could be the dynamic human of the future, exploding age-old binaries with an eloquent note, melting racial divisions with a devastating turn of phrase or quick flit to falsetto. He breathed hope. Then he went away.

Years clicked by. It was easy to worry. There R precedents 4 this sort of thing, 4 disappearances, 4 the self-implosion of black genius. Lauryn Hill. Dave Chappelle.

undo wrote:How do U complain about this without effectively co-signing the complaints of gamergate douchebags (who aren't reading my shitty posts anyway but that's not the point)?

Regardless, any arguing or defending of the record seems pointless and redundant. Which is why it's here at the peak. It should be reiterated, however, just how much better OK Computer is than Loveless, and why people somehow forget this. Loveless, a masterpiece of form and noise, impresses the brain like stylized photography. Surely, it is breathtaking. It provides the senses with a romantic, heightened ideal of music, experienced through an unbreakable medium. The sound overwhelms to such an extent that multiple listens R unnecessary and taxing. OK Computer, in contrast, sounds crystalline and liveable-- a true, enterable aural landscape packaged with press-delivered mythology describing its creation (Thom Yorke singing on his back staring at Dr. Quinn Medicine Woman's castle ceiling).

Those overly familiar with this album's details doubt its brilliance only in the way a Loveless-like beauty sitting across the restaurant from your mate questions your life commitment. U haven't seen the armpit stubble, shower drain residue, high-school poetry, morning dental state, and Disney-induced tears of Loveless. Psychologically, one needs those fantastic diversions, but there has to be something real to return to again and again. OK Computer simply is the anxious, self-important, uncertain, technologically overwhelmed 1990s. --Brent DiCrescenzo

chrondog wrote:people and organizations R wildly overcompensating in this age of identity-obsessed politics, but we kinda have to let them.

Sorting through metaphorical traces left behind, Cocker asks on the title track, “Is there anything sadder than a hotel room that hasn't been fucked in?”

Cocker brings his wry Pulp persona to bear on Gonzales’ elegant piano and film-score approach and deep pop tune understanding. A few tracks are infectious enough to merit standalone listens.