David Cross Reviews ButterFat 100

David Cross has an hilarious list of fake reviews on Pitchfork, a clever attack on their inane skewering of him as a “nauseatingly smug… giant fucking asshole.” Cross proves once again he’s the funniest man alive.

“May I suggest listening to Elegant Nuisance by ButterFat 100. With this, their second album since signing with Holive Records, ButterFat 100 return to their psychobilly/emo core roots. Let its volcanic rapture overwhelm you like a 19th century hand-woven blanket made of human hair might have done back in the days when they enjoyed such things.”

go to pitchfork [thanks to Kevin at Catch for bringing this to our attention]

Ask CPB Chairman Tomlinson to Stop Playing Politics with Public Broadcasting

Is it just us or does Kenneth Tomlinson
look a lot like Lon Chaney’s Wolfman?

The Republican-appointed head of the Corporation for Public Broadcasting, Kenneth Tomlinson, is on a campaign to end “liberal bias” at NPR and PBS. Clearly, this self-proclaimed conservative has no bias of his own. Before the appointment, he was the editor-in-chief of the reactionary geriatric staple known Reader’s Digest. If you haven’t read it lately, it’s ultraconservative politically and the journalistic equivalent of Family Circus. Before that, he was director of the Voice of America in the Reagan administration.
CommonCause.org has put together a petition to:

* Stop efforts to influence programming decisions at National Public Radio (NPR) and the Public Broadcasting Service (PBS).
* Eliminate the two ombudsman positions recently created to evaluate and critique public broadcasting programs for bias. This is an inappropriate role for the CPB and is contrary to its mission of serving as a “heat shield” to protect public broadcasting from political influence.
* Support the appointment of board members to the CPB who have demonstrated expertise and commitment to public broadcasting as opposed to the current system, which favors the appointment of partisans.
* Publicly assure journalists working for public broadcasting that they can conduct fact based investigative reporting critical of government without fear of reprisals.

Click here to sign the petition

Bugmenot.com – Avoid annoying online registrations

This is the coolest web site we’ve stumbled upon in a while. Avoid those annoying website registrations found on the NY Times, etc with bugmenot. Now you don’t have to worry that Rupert Murdoch knows your identity should you log into the NYPost to read about Tara Reid in PageSix or to see if Steve Dunleavy is dead yet.
Click below for some sample passwords [most seem to work]

If your conscience kicks in see below [from bugmenot FAQ]

Why not just register?
— It’s a breach of privacy.
— Sites don’t have a great track record with the whole spam thing.
— It’s contrary to the fundamental spirit of the net. Just ask Google.
— It’s pointless due to the significant percentage of users who enter fake demographic details anyway.
— It’s a waste of time.
— It’s annoying as hell.
— Imagine if every site required registration to access content.

The Rock Snob's Dictionary: An Essential Lexicon of Rockological Knowledge

Finally, a book has come along that can help explain some of those Chuck Eddy reviews we read in the Voice. Does anyone really understand Check Eddy when he says things like “tribal-drummed neo-no-wave,” “electro-punk robo-scuzz,” or strangest of all “80s post-hardcore pigfuck hard-rock.” We’re not making this up.
Or how about this impenetrable Eddy prose:

So on the eve of Hitler’s birthday I’m pulling out old Laibach and Enigma records in horror of the papacy’s return to that old Oberammergau catechism, and I reach for the most seminal goth-rock number of all. It’s on The Yardbirds Great Hits (Epic, 1977, one vinyl disc, liner notes by Ira Robbins), and the album cover’s got reams of ticker-taped That Was the Year That Was headlines, and there the unexpected words were, (accidentally?) next to the title of the ‘Birds Gregorian high-mass stained-glass pagan-pop plaint “Still I’m Sad” (later covered by Boney M): “Pope Paul VI makes a ‘peace pilgrimage’ to Istanbul.” Eerie …

The Rock Snob’s Dictionary will hopefully shed some light. It’s funny and informative and, best of all, thorough. Here’s a quick excerpt:

steve_albini.gifAlbini, Steve. Self-consciously difficult Chicago-based record producer who chafes at being called a producer, insisting that he merely “records” bands; best known for having produced-er, recorded-Nirvana’s studio swan song, In Utero, and for issuing snarky comments to the press when some of the album’s uncompromisingly raw songs were later remixed by other producers. Albini, who pushes the bounds of hard-rock iconoclasm by wearing glasses and having short hair, enhanced his outsider cred by playing guitar in the not-very-good hardcore bands Big Black, Rapeman, and Shellac.
Rewards repeated listens. Euphemistic phrase employed by rock critics to confer value upon a dubious musical work that, given the reputations involved, has to be better than it sounds.
Seminal. Catchall adjective employed by rock writers to describe any group or artist in on a trend too early to sell any records.

But come on…. Shellac rules
Check out the book website. They have some funny excerpts and blog updates including a Snob List vs. Honest List of favorite records for the two authors. (“The first list being the albums that you’d honestly take to that desert island for your listening enjoyment, the second list being the albums that you’d claim to be taking to impress other Rock Snobs.”) We listed them after the jump:

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Anyone remember Abu Ghraib?

White House spokesman Scott McClellan on Newsweek’s story about the alleged desecration of the Koran at Guantanamo Bay:

“The report has had serious consequences,” he said. “People have lost their lives. The image of the United States abroad has been damaged.”

Can anyone say Abu Ghraib? Listening to the White House criticize Newsweek is akin to having Keith Richards self-righteously lecture you on the harms of smoking. Abu Ghraib, our extradition policy, the Iraq War, and the illegal detainment of prisoners at Guantanamo Bay have damaged our reputation abroad in a much more profound way.

To do this weekend: Summer in LongIsCity and Tommy's Tavern

From Flavorpill:

Though MoMA’s moved the masterpieces back to Manhattan, Long Island City is still teeming with culture. Commence an art-filled weekend by touring the furtive Fisher Landau Center, an icon-heavy painting and sculpture collection. Then, drop into the nearby Museum of the Moving Image, where Porgy and Bess lights the screen and Digital Play recreates a video-game arcade. Later, listen to live music in the peaceful Noguchi Museum garden or let loose with Skeletons & the Girl-Faced Boys in P.S.1’s courtyard. Hit the trail again on Sun 5.15 for two exciting sculpture shows: Make It Now: New Sculpture in New York at the stylish Sculpture Center and the competing Sport at the down-to-earth Socrates Sculpture Park. (YP)

Also, a great show at Tommy’s Tavern:
Leaders of the Free World, The Redcoats are Coming, Poorboy Johnson & the Goddamn Rattlesnake, Landrew, and Compassion in Action
Saturday at 8pm (5 bucks)
Tommy’s Tavern
1041 Manhattan Ave (at Freeman St)
G to Greenpoint Ave or B61/B43 to India St.

The Believer to release indie comp


From Pitchfork
The bands involved were asked to pick a song by answering the question “What have you been listening to lately?” Yes, it’s a covers album — but instead of being treated to a Counting Crows rendition of “Horse With No Name”, we get popular contemporary artists covering… popular contemporary artists. Among the goodies on the CD are the inescapable Devendra Banhart trying on Antony & the Johnson’s white facepaint, the Decemberists borrowing Joanna Newsom’s shoes, and the Shins reviving their acquaintance with the Postal Service. We also get the Constantines and Ida each appearing both as performers and as cover-ees; yea, and a Wolf shall cover a Frog, a Mountain Goat shall cover a Silver Jew, and the majority of the tracks shall be previously unreleased, amen. The tracklist:
01 The Decemberists: “Bridges & Balloons” by Joanna Newsom
02 Spoon: “Decora” by Yo La Tengo
03 The Constantines: “Why I Didn’t Like August ’93” by Elevator
04 CocoRosie: “Ohio” by Damien Jurado
05 The Mountain Goats: “Pet Politics” by Silver Jews
06 San Serac: “Late Blues” by Ida
07 The Shins: “We Will Become Silhouettes” by the Postal Service
08 Josephine Foster: “The Golden Window” by the Cherry Blossoms
09 Cynthia G. Mason: “Surprise, AZ” by Richard Buckner
10 Jim Guthrie: “Nighttime/Anytime (It’s Alright)” by the Constantines
11 Espers: “Firefly Refrain” by Fursaxa
12 Two Gallants: “Anna’s Sweater” by Blear
13 Vetiver: “Be Kind to Me” by Michael Hurley
14 Ida: “My Fair, My Dark” by David Schickele
15 Mount Eerie: “Waterfalls” by Thanksgiving
16 Devendra Banhart: “Fistful of Love” by Antony & the Johnsons
17 Wolf Parade: “Claxxon’s Lament” by Frog Eyes

Tom Ridge confirms what everyone already knows, alert system a political tool


The Bush administration periodically put the USA on high alert for terrorist attacks even though then-Homeland Security chief Tom Ridge argued there was only flimsy evidence to justify raising the threat level, Ridge now says.
Ridge, who resigned Feb. 1, said Tuesday that he often disagreed with administration officials who wanted to elevate the threat level to orange, or “high” risk of terrorist attack, but was overruled.
His comments at a Washington forum describe spirited debates over terrorist intelligence and provide rare insight into the inner workings of the nation’s homeland security apparatus.
Ridge said he wanted to “debunk the myth” that his agency was responsible for repeatedly raising the alert under a color-coded system he unveiled in 2002.
“More often than not we were the least inclined to raise it,” Ridge told reporters. “Sometimes we disagreed with the intelligence assessment. Sometimes we thought even if the intelligence was good, you don’t necessarily put the country on (alert). … There were times when some people were really aggressive about raising it, and we said, ‘For that?’ “

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