Best dance party =Grimes? Not by a long shot in my book. DJ Spinn was the best DJ set I have ever seen at Pfork Fest. And I have been to at least one day of all of them. And the footwork on stage was incredible. Shocked that set didn’t even warrant a mention. Shame it overlapped with Slowdive, my favorite set of 2014


FP fan Roscoe Trey Nicholson takes issue with our coverage of Pitchfork Music Festival 2014 on our Facebook page, citing DJ Spinn’s Teklife performance, pictured here. Photos by Matt Meschede. Read our Pitchfork Music Festival 2014 coverage here.

It seems like back in the day there was an ethos and everybody was on the same page, like make sure the touring bands get paid, have someone at the door. Where it’s like now, and this is throughout the country, you go to a lot of places where people need a handbook. I think somebody needs to make a handbook to be like, “All right, we’re older, we’ve all got jobs, we’re not playing shows anymore but you guys are carrying the torch, here’s what you’ve gotta do.”

The other night I was at a show and it was out-of-town bands playing and someone had, like, a bucket for donations… but nobody was being aggressive about the donations. People weren’t watching the door, people would come by and put a quarter in the bucket. So I just picked up the bucket and was like “Come on man, three, five dollars, whaddya got?” And the guy running the show was like, “Chill out man!” And I was like, “Well I just made you guys $75.” And he’s like, “OK do your thing.”

is iSo this is how you have to do it! You’ve gotta take care of touring bands because if touring bands come to your town and you don’t feed them or give them a place to sleep and you pay them $20, they’re not coming back… Americans need to value art. We really do. And we don’t. We value musicians the same way we value jalapeño poppers at Outback Steakhouse.


Ed Schrader’s Music Beat is interviewed in WAMU’s Bandwidth on the state of the scene in DC, Baltimore and beyond. The FPCHI alum plays the Black Cat tonight with Ian F. Svenonius’ Chain & The Gang. We’ll be there.

Read our interview with ESMB here.

Camera Obscura & Laura Cantrell @ Thalia Hall, Chicago
July 25, 2014

If last weekend’s Pitchfork Music Festival was my immersion into youth culture, Camera Obscura’s  Thalia Hall show was  a vision into my future life as an NPR-listening, show-still-going 30 something. I can’t say I felt out of place in the crowd, but I did feel acutely aware I was very likely the youngest person in the room, which was so strange to me. Camera Obscura, in my mind, has also been reminiscent of university days, of being 19 on the cusp of 20. Maybe it’s just because I was a breath over 20 when I became a fan of the group, thinking they were speaking specifically to me as they sang “You’re not a teenager / so don’t act like one.” Turns out – this tune was aimed at folks a little older than 21.

Age aside; this was such a strong and mature show. Opening it all was Laura Cantrell, the fantastically wise country singer / Kitty Wells fan I interviewed last week. It felt like everybody got to know her – she’s down to earth as the neighborhood woman playing open-mic nights at coffee shops, despite the scale of fame she’s now on.

Then, Camera Obscura. You forget just how big this band is (think Belle & Sebastian, big happy family) since most album covers / photos center around the two girls, Tracyanne Campbell and Carey Lander. The group’s almost past teenage years themselves – est. in 1996, they’re going to be 20 years strong before you know it. That said, it’ll be no surprise for me to tell you there set was strong, flawless, filled with diehard fans and basically, just the best, chilliest sing-along concert I’ve been to indoors in quite awhile. // Kati Heng

Are Men Overpaid for Overwork?

newyorker:

image

Margaret Talbot examines a recent study on “overwork” and the wage gap: http://nyr.kr/1AfLmH6

“Employers may be drawing a correct conclusion that time equals worth, or they may be using time as a proxy because it’s hard to evaluate worth otherwise, and because long hours, and constant access through technology, have become values in and of themselves. At the same time, some of those men may be reading mystery novels—or whatever—online.”

Photograph by Paolo Pellegrin/Magnum.

(Source: newyorker.com)

As the decade passed, latent beauties blossomed in Killing Williamsburg. Its bricolage of genre, the narrator’s callow morbidity, and its homegrown feel turn out to be prescient forecasts of 21st-century taste. The story is an action thriller, an apocalyptic dystopia that predicts our current obsession with zombies. At its core, it is about a young, white, middle-class man’s search for authenticity in a phony world—a Catcher in the Rye for the turn of the millennium. Benson Lee, the novel’s protagonist, and his friends are all hipsters from a time before the label carried its contemporary currency. Today, hipsters are the most discussed, studied, exalted and reviled creature of the early 21st century. But at the end of 1999, the Gen X’ers who moved from Anywhere Else, USA to New York and San Francisco were just kids in baseball caps and goatees.


FP contributor Will Kenton reviews other FP contributor Bradley Spinelli’s first novel, Killing Williamsburg, in The Awl.

Read all submissions by Will Kenton here.
Read all submissions by Bradley Spinelli here.

markdorf:

For all of you in the Chicago area I would like to invite you to the opening of New Landscapes this Friday at Gallery 19. The show should be one not to miss as it features works from Allison Grant, Anastasia Samoylova as well as my series Parallels Information follows below:

New Landscapes 
Curated by Sarah Jamison and Christian Arrecis

Opening reception August 1st from 6:30 - 10:00PM

Gallery 19
1967 1/2 West Montrose Ave
Chicago IL 60613

WWW.MDORF.COM

Read a feature on Mark Dorf’s artwork on Frontier Psychiatrist here.

Going to Newport Folk Festival this weekend? Wish you were going to Newport Folk Festival this weekend? Relive our coverage of last year’s event, featuring exclusive photography from Michael Kingsbaker here. Stay tuned for more photos of this year’s fest next week.

Enter Arantzazu Martinez, a special rarity these days. She manipulates her images the way that one had to hundreds of years ago in order to create a captivating vision, with oil and a brush. Ms. Martinez is a classical painter maintaining a tradition that while still treasured on the walls of the great museums, seems too difficult, too obscure, and without enough ROI for today’s often impatient, market conscious artists. There are plenty of artists still painting on canvas (or in Martinez’ case, linen) but few who have the patience and skill to hone their craft for years—as the great masters did—and work with a canvas delicately, resolutely, for months on end.


The extraordinary work of classically-trained Spanish painter Arantzazu Martinez is analyzed on Frontier Psychiatrist. Read more here.

Benji is not only one of the best albums of the year so far; it might be the best album Mark Kozelek has ever released. But in Benji, Mark Kozelek, the weary-voiced troubador and bearer of bad news, released an album chock full of personal facts about his concerns for his mother’s health, his sex life, and his midlife crisis. His set at Pitchfork was so laden with vocal reverb (sounding like an off-key Jim James) that you truly could not hear anything he was saying. It was almost as if Kozelek was too embarrassed to reveal anything anymore, so he hid behind three walls of sound and instead told some uncomfortable racial jokes (he joked about how white his crowd was before singling out the lone black person in the crowd and declaring himself “comfortable with black people”). When Kozelek finally exited his chair (his band members remained seated), he delivered “By the Time That I Awoke” standing up and awkwardly pacing back and forth, all with the stage presence of a first-spelling-bee middle schooler. One of the most anticipated sets of the festival was a total bust.


Sun Kil Moon is named the Most Disappointing Set of Pitchfork Music Festival 2014 by Frontier Psychiatrist. Photo by Matt Meschede. Read more superlatives and festival coverage here.