Corgan gets even with Chris Cornell, calls out U.S. alternative radio 10:35 pm // Friday, August 31, 2012Posted by jjb in billy corgan, interview, news, pavement, radio, radiohead, soundgarden.
In an interview published earlier this month in Manila’s Philippine Star newspaper, Smashing Pumpkins leader Billy Corgan somewhat confusingly lumped Soundgarden together with Pavement among bands of his generation that he said reunited not to forge a new future in music but merely for “one more round at the till.”
This morning, alert and sympathetic deejay Josh Goodman of Denver’s KTCL-FM had Corgan on the phone and, as part of their conversation, he prompted Corgan to expand on those comments related to Soundgarden. Goodman’s full interview with Corgan can be heard online.
Below, we of Hipsters United offer a partial transcript of the interview that corrects and extends a partial transcript posted earlier today by the diehards at New Jersey-based blog Grunge Report. Our transcript picks up just past the 4-minute mark in the online audio file, which of course is superior for conveying tone and so forth.
Josh Goodman: I love reading your interviews, and I interviewed you back when you played for Big Gig here in 2010, and I love that you don’t censor what’s on your mind, and…
Billy Corgan: [laughs] Maybe I should, though.
Goodman: No, you shouldn’t, man, it’s good, I think people need to hear it. But, you know, along those lines of what you were saying, about bands going out and playing sort of their rehashed greatest-hits stuff, you did specifically call out Soundgarden in that vein, saying: Hey, man, they’re just going out to make money, and let’s just call it what it is. I’m curious, did you ever, have you heard from the guys in Soundgarden? I know you’re a fan of the band. Did you hear from Chris Cornell or anything? Did they have anything to say to you directly, or not really? (more…)
Indie buzz-horse “Radiohead” named 20-1 Derby shot 10:38 am // Friday, March 26, 2010Posted by Jill in amusing, radiohead.
This morning, Daniel Kreps’ recent article on Rolling Stone’s website caught my eye. Indie music fans should have an especially good reason to watch the Kentucky Derby this year: among the contenders is a horse named Radiohead. Bookies have picked the chestnut colt (who’s also British, like Thom!) as a 20-1 winner.
In a lengthy feature piece on the Miami Herald, we learn more about Radiohead’s story via his trainer, Rick Dutrow Jr.:
[Radiohead] was the one strutting as his stablemates strolled on a breezy afternoon at Gulfstream. The 3-year-old seemed aware of the growing buzz about him, that he is picked as one of the favorites for Saturday’s Florida Derby, that he’s gaining Kentucky Derby credibility. “He’s a cool, happy, curious horse,” Dutrow said. “He’s very proud of himself. He’s game, you know. He’s game for an idea. He knows he’s going to have to show he can run against good horses.”
If Radiohead can nail down this ‘idea’ and endure this media buzz long enough to throw down a successful race at Churchill Downs, we’ll have a lot to anticipate at the Preakness.
Maybe he’ll get to name his own purse?
Thom Yorke forms band with Flea to play new songs live in L.A. 12:06 am // Tuesday, September 29, 2009Posted by jjb in amusing, news, radiohead.
The Radiohead frontman writes:
in the past couple of weeks i’ve been getting a band together for fun to play the eraser stuff live and the new songs etc.. to see if it could work!
here’s a photo.. its me, joey waronker, mauro refosco, flea and nigel godrich.
at the beginning of october the 4th and 5th we are going to do a couple of shows at the Orpheum Theatre in Los Angeles.
we don’t really have a name and the set will not be very long cuz ..well …we haven’t got that much material yet!
UPDATE: NME: “WTF?”
Thom Yorke holds forth on the album format 10:19 pm // Friday, August 7, 2009Posted by jjb in interview, radiohead.
[Believer]: Do you think [the In Rainbows pay-as-you-will method] worked?
[Yorke]: Oh, yeah. It worked on two or three different levels. The first level is just sort of getting a point across that we wanted to get across about music being valuable. It also worked as a way of using the Internet to promote your record, without having to use iTunes or Google or whatever. You rely on the fact that you know a lot of people want to hear it. You don’t want to have to go to the radio first and go through all that bullshit about what’s the first single. You don’t want to have to go to the press. That was my thing, like, I am NOT giving it to the press two months early so they can tear it to shreds and destroy it for people before they’ve even heard it. And it worked on that level. And it also worked financially.
[Believer]: Do you think this method would work for other bands who aren’t as known as Radiohead?
[Yorke]: With the press, we’re in a lucky position where we don’t really have to rely on a reviewer’s opinion, so why would we let that get in the way? If people want to play it for themselves, why don’t we just give it to them to listen to? I just don’t want to have to read about it first.
[Believer]: And that style of release definitely promotes the album as a work of art, rather than a bunch of singles floating around the Internet.
[Yorke]: Oh, that’s interesting. I appreciate that. Unfortunately, a lot of people got the album in the wrong order.
[Believer]: What about the idea of an album as a musical form? You think that the format is still worthwhile amid iPod shuffling?
[Yorke]: I’m not very interested in the album at the moment.
[Believer]: I’ve heard you talk a lot about singles and EPs. Is that what you’ve been moving toward?
[Yorke]: I’ve got this running joke: Mr. Tanaka runs this magazine in Japan. He always says to me, “EPs next time?” And I say yes and go off on one, and he says, “Bullshit.” [Laughs] But I think really, this time, it could work. It’s part of the physical-release plan I was talking about earlier. None of us want to go into that creative hoo-ha of a long-play record again. Not straight off. I mean, it’s just become a real drag. It worked with In Rainbows because we had a real fixed idea about where we were going. But we’ve all said that we can’t possibly dive into that again. It’ll kill us.
Timpani Sighting at the Grammys 8:51 pm // Sunday, February 8, 2009Posted by Jill in coldplay, movies and film, radiohead, video.
Tonight in Los Angeles at the Grammy Awards, yet another timpani player named William was spotted banging away at the drums. This time it was William Champion of Coldplay, whose beats contributed to “Viva La Vida” winning the award for Song of the Year.
I confess that I actually adore that song. Deride me in the comments; at least the performance tonight was lightyears better than The Rock’s dramatic reading of Katy Perry at the onset of the show. I’m still cringing from that little piece of ‘performance art.’
Do I dare predict the timpani is a trend in 2k9?
UPDATE: Grammy #2: Best Rock Album (feat. timpani).
UPDATE 2: An abbreviated version of the Watchmen trailer featuring the Smashing Pumpkins’ song “The Beginning is the End is the Beginning” just played after Adele won the Grammy for Best New Artist. First the Super Bowl, now the Grammy telecast? Jared wasn’t messing around.
UPDATE 3: Apparently the USC Marching Band won the remix contest Radiohead ran awhile back; they are now performing live on the Grammys with The Greatest Band Alive. This is so meaningful, yall. (Welcome back to the blog, Thom.)
For 15 minutes, CBC Radio One slams Smashing Pumpkins tour: claims band “not playing the hits”, half of concert just “noise” 11:33 am // Saturday, November 29, 2008Posted by jjb in bullshit, canada, criticism, radio, radiohead.
Yesterday, the Canadian public radio program “Q” dedicated fifteen minutes to a discussion of the question of whether concert attendees “deserve to hear the hits,” framing the discussion inside an at-times withering attack on the current tour by the Smashing Pumpkins (which, oddly, is a tour on which the Pumpkins are playing all of their biggest hits).
The entire “Q” program may be downloaded here (the segment begins just before the 18-minute mark). Below is a partial transcript focused on the material most relevant to the Pumpkins:
Jian Ghomeshi (“Q” host): “1979” is probably the Pumpkins’ biggest hit, but if you’re hoping to hear it played during one of the reformed band’s live shows, you’re taking a chance. The Pumpkins aren’t often including their back catalog of hits on their setlists these days, a fact that has critics, bloggers, and fans alike charging them with being out of touch with their audience. The furor has gotten so bad that it’s been disrupting Smashing Pumpkins performances. Here’s a recent clip of Pumpkins frontman Billy Corgan onstage in the band’s hometown of Chicago.
Billy Corgan (clip): You know, for 20 years we’ve tried to make people happy and failed again and again. It’s so confusing! Is it that we don’t play music? Do we not play music, is that what it is?
Jimmy Chamberlin (clip): Must be.
BC (clip): Oh, I get it, I get it. It’s that we don’t do what you want us to do, that’s what it is. That’s what it is. Sometimes crowds remind me of ex-girlfriends. And you, you remind me of this one that took a lot of my money and didn’t like me. And she told me she loved me, but she wasn’t really there for me. That’s what this reminds me of. It’s that kind of relationship, isn’t it?
JG: Ohh, Billy Corgan. Not making friends with his fans at that concert. Apparently not taking the criticism of the band not playing the hits too well. But this does bring us to a larger question: what responsibility do musicians have when it comes to giving the audience their money’s worth? Especially when those audiences are often paying top dollar for tickets with no money-back guarantee. Do the fans deserve to hear the hits? Is the band obligated to play that tune they may have grown…grown to dislike, but know the punters want to hear? Kelly Bergeron is a freelance journalist who saw the Smashing Pumpkins play earlier this month, and she joins me here in Studio Q, hello.
Kelly Bergeron: Hi.
JG: [...] And Chris Murphy [of Sloan] is here, hello Chris, and both of you, say hello to Buffy Sainte-Marie. [...] This Smashing Pumpkins tour has been billed as their 20th anniversary tour. Given the billing, do you think it’s fair that fans should expect a hit-packed performance, Chris Murphy?
Chris Murphy: [...] Of course they should play their hits. I think you should.
JG: Kelly Bergeron, before you tell me what your position on this — what was your expectation? You’re a Smashing Pumpkins fan, not just a journalist. You went to see this show. You paid to see this show. What was your expectation going in?
KB: I expected that they were…they had two set nights, they had night one and night two, different themes for both nights, and they had planned to play all their hits. And so I knew going in I would hear “1979”, or “Tonight, Tonight.” It was sort of a mix over both nights. I did my research beforehand because I was reviewing the show as well, so I didn’t expect any meltdowns. [laughs] But it wasn’t…yeah.
JG: So you go to the show. You did end up reviewing it for the National Post. [ed. setlist for the concert, from spfc.org; free recording of the concert, from archive.org] What happened? What did you see at the show? And what did you think?
KB: Um, it was the first double night apparently that they were doing on the tour, so I expected it not to be polished off. Midway through the show, I went with my friend, and I kept looking over at him thinking, “Is it me, or is this really starting to go downhill?” Billy Corgan was up on stage with a tambourine prancing around the stage very bizarrely. The music was not…it, it…they played “1979” and it was great, but by midway through it just turned into, um…an embarrassment. And, I saw people leaving — and he wasn’t even heckling the audience at that point.
JG: So, but, was it an embarrassment because they weren’t playing well, or was it because they literally weren’t giving the fans the hits?
KB: Well, no, it…I wouldn’t care so much if they weren’t giving us the hits, it was the fact that they were just playing noise. They were up there just experimenting.
JG: His position, though, would be, look, if you’re a fan of alternative rock and what we’ve been doing all these years, then you should come to our show and expect that we might be experimental.
KB: I think…I think this is like a rare case, because Billy Corgan has not been putting out good records since 2000. Um, unlike other bands who continue to go on really well — like Sloan, they have current, good music — but then you look at the Pumpkins, and he’s had breakdowns within the band, and he keeps trying to put something together that resembles what was in the ’90s, with not much success.
JG: Right, and, uh, yeah, it’s understandable that certain fans would go wanting to hear what they loved, in the ’90s.
JG: Do you think bands like the Smashing Pumpkins or Sloan have an obligation to play the hits for paying audiences?
KB: … If you’re really loyal to your fans, and you want to keep your fans, and you’re advertising a 20-year reunion tour without the original members, then you better be pulling out all the stops. I just want to give an example. I saw Radiohead twice this summer, and they have an awesome new record, and they played every single song off their new record, but they also played all of their major hits. One of the places I saw them was at Lollapalooza [ed. setlist, from ateaseweb.com]. Not only did they play “Fake Plastic Trees” off The Bends and “Everything in Its Right Place,” but they set it to fireworks. So, that to me is, like, that’s giving the fans what they want and more — and that’s from Thom Yorke, too.
JG: Is creative expression..shouldn’t it be allowed for artists, or is there a line they shouldn’t be crossing when people are playing big bucks?
KB: I think it’s fine within a certain amount of timeframe. The thing that put me off was that, it was… Okay, basically, if you go up there and play two newer songs on a reunion tour, and the rest is all old stuff, I would consider that okay. But when you’re going up there and playing half your show with new stuff that nobody knows, and going off on a tangent on a different style of music altogether…
JG: And yelling at your fans.
KB: Yeah, and yelling at your fans, then yeah. That’s a different creative expression.
JG: Very very quickly, Kelly, has your negative Smashing Pumpkins experience changed your affection for the band?
KB: Definitely. I can’t listen to them right now.
JG: Right now. There’s a period of…you need some space.
KB: Yeah, I do. I need a few drinks.
Still waiting for someone to pan Pumpkins’ August tour 4:45 pm // Monday, August 18, 2008Posted by jjb in criticism, radiohead, stereogum, the hold steady, tour.
Hilary Langford, writing for Landmark Communications’ Style Weekly of Richmond, Va., lauds the Smashing Pumpkins for delivering “an impeccable set of blistering rock” on Saturday night in nearby Charlottesville:
Seemingly intoxicated on his own music, Corgan wavered back and forth as he weaved a psychedelic “Star Spangled Banner” into “United States.” With roundhouse, Townsend-styled guitar strums, the frontman kept the searing energy going with “Heavy Metal Machine” and asked the audience “Are you ready to die for rock and roll?” What he should have asked was, “Are you ready to see the strangest show closer in Smashing Pumpkins history?”
Meanwhile, Pitchfork, Stereogum, Idolator, et al, were unable to comment as today they hit a rough patch in their relationships with the Hold Steady, whose
frontman guitarist just now told them — after like two years together! — that he doesn’t like Radiohead. My favorite part is Stereogum’s lament:
Ugh. Look it’s Rock Interviews 101: a band slags another, and like a moth to the Flame, the internet will post it. Because it is inflammatory, and the Internet and Inflammatory are BFFs. So congrats Tad Kubler, you clearly wanted to be blogged, and now you are. The Hold Steady guitarist told BBC6 (via NME): …
HU Podcast #17: Radiohead Special 6:17 pm // Thursday, August 14, 2008Posted by chris in podcast, politics, radiohead.
I know that everyone is excited about the tour, but discussion about whether G.L.O.W. will be on the next edition of Jock Rock will have to wait until next week’s podcast, as we took the week off due to travel arrangements. But before we left, Jason took the mic to host a very special episode focusing on analysis of Radiohead and the Smashing Pumpkins.
This week’s topics:
-Chris, Jason, Jill, and Andrew
-The differing pressures faced by the two bands. Are the Pumpkins pressured to try new things, or just to rock out? Does Radiohead get a free pass from critics because they play fewer shows? (30:19)
-The frontmen: How do Billy Corgan and Thom Yorke fit the archetype of the “Artist”? Plus, Jill delves into art history. (15:11)
-The fan bases: comparing the outer and inner fan bases of both bands. Plus, why do (some) people hate Billy Corgan? (17:34)
-The music: Jason plans on talking about music but delves into economics and politics. What are Billy’s political views? Andrew does his best impression of an ice cream truck. (26:50)
Song of the Week
-Glynis, October 31st, 1993
We will be back next week with a 100% Smashing Pumpkins-filled episode.
Radiohead plays another outdoor concert in downtown Chicago 12:46 pm // Saturday, August 2, 2008Posted by jjb in radiohead, venues.
Following seven years after their last such gig, Radiohead returned to Chicago’s Hutchinson Field last night, this time as part of Lollapalooza. This comes on the heels of Pearl Jam’s headlining slot at last year’s Lollapalooza, which of course also was held outside in the Loop.
Meanwhile, the Smashing Pumpkins have never played a large outdoor show in the center of their hometown (and no, Zwan never did either).
You have to think the Pumpkins will be the Lolla headliners next year, don’t you?
Fan interview from November with Billy Corgan 1:42 am // Monday, July 7, 2008Posted by jjb in interview, radiohead, video, zeitgeist.
This newly shared video gives good insight into the band’s
current mindset of eight months ago regarding the album format. It was recorded after the final show of the 2007 U.S. tour, November 18 in Dallas. Here’s some of what Billy said:
We’re playing songs off an album that’s been out now for six or seven months, but most people don’t know the songs. People don’t listen to records anymore. Yeah, when Siamese Dream was popular, more of the audience would listen to that, but when we played Machina stuff, 50% of the audience knew the album. Now you play, it’s like 10% of the audience knows it, because people don’t listen to albums anymore. It’s all iPod playlists and stuff. [Fan: So what's the future?] One song at a time. I mean, if you were able to poll the audience, I would say that 90% of those people probably have not heard more than two songs off that record, and wouldn’t be interested in more than two songs, and won’t listen to them even if you gave them to ‘em for free. I think that’s what Radiohead’s going to find out really quickly, with, even giving away music… [Fan: Didn't most people pay nothing for it, the Radiohead, though?] Well, I think 60%, from what I’ve heard, but that doesn’t matter. I would have no problem giving away music for free if people would listen to the music. I don’t think anybody ever envisioned that “free” would also equal “not listen” and also “not go to concerts”. That’s the thing that I think is kind of mystifying. Yeah, when we were kids, we traded tapes, nobody gave a shit because I didn’t pay for the record — it made you a fan of the band and made you listen to records. Now for whatever reason, generationally or just technology-wise, it doesn’t seem to translate into album-listening. So you spend a tremendous amount of time making sure the ninth song on your record is just as good as the first song, and in the back of your mind you’re thinking, “But nobody’s going to fucking listen to this.” So we’re over that.
HU’s Jill at SP.com: “Friends and Enemies of…Future Music?” 2:52 pm // Tuesday, July 1, 2008Posted by jjb in b-sides, criticism, machina, radiohead, record labels, releases.
Here is today’s article from our very own Media Militiawoman.
HU Podcast #10: Residency DVD and Off-Season Marketing 5:35 pm // Tuesday, June 24, 2008Posted by chris in cheap trick, marketing, podcast, radiohead, releases, thefutureembrace.
After a bit of a hiatus the podcast returns with a full slate of panelists three-quarters of a panel. Barring any unforeseen business travel, we should be able to stick to our weekly schedule at least until the end of the summer. This week we talked about the residency DVD, which seems on track to defy the odds and actually get released, and a topic near and dear to my heart: marketing.
This week’s topics:
-Chris, Jason, and Andrew
-Billy is playing with Cheap Trick on June 28th, anyone want to iReport it for us? (2:04)
-A new single is announced for September, will it be a pop hit or a sweeping epic? Plus, we make our first reference to the Machina Mystery on this podcast. (7:11)
-IMDB reveals more information about the residency DVD, which is scheduled for the end of this year, and provides a unique interpretation of alphabetical order. (7:12)
-With the news slowing to a trickle, fan sites start going dark as fans enjoy the summer weather and forget about the Pumpkins until the next blitz begins. Now that the band is label-less and in charge of their own marketing, does this promotional pattern make sense? I figuratively hire Jason and Andrew to play Madison Avenue Executive, and we all have our own advice for how to keep fans engaged. (31:25)
This Week in Pumpkins History
-TheFutureEmbrace is released. Jason ponders the accolades it would have received had it been released by Radiohead. Plus, I reveal my darkest secret: that I listen to James Iha’s solo album more than Billy’s. (8:36)
Song of the Week
-Lover December 12, 1998
Next week we may be doing a show review for a Gish-era show to go along with the announcement of the rerelease/box set/Gish tour. If so, I’ll post the date of the show we’ll be discussing in the comments for this post later in the week.
Rolling Stone edits Corgan interview; Stereogum bash ensues 1:07 am // Friday, March 28, 2008Posted by jjb in billy corgan, blogging, bullshit, criticism, news, photo, radiohead, rant, stereogum.
The well-read music blog Stereogum has a post today entitled “Billy Corgan On Radiohead: ‘Publicity Is Better Than Music'”. This five-word quotation comes from Billy’s recent interview with Rolling Stone. Stereogum plays up the quotation as if it were a slap at Radiohead, but — as demonstrated below — it ain’t so.
Here’s the portion of the Rolling Stone interview that was reproduced by Stereogum:
Rolling Stone: Artists are finding their own ways to get paid outside of the major-label system, like the Eagles with their Wal-Mart deal, Madonna signing up with Live Nation.
Billy Corgan: I think it’s really difficult for the young artist, who doesn’t have at least some sense of a pathway. For example, if you were a kid today and you’re looking at the bands who are successful right now, you think, if you don’t sort of sell out and let somebody make you a star, go on American Idol, then you can’t be successful. Alternative culture is really critical towards introducing new ideas. We need those young bands to push old band like us, to push new boundaries. We need our butts kicked regularly. That’s where all the energy comes from, from the bottom. And when the message on Amy Winehouse is drama is better than music, and for Radiohead publicity is better than music — no disrespect to them. But I think it’s a bad message to young bands of how to make it happen. It’s almost like the evil stepchild of the rap bling-bling thing, like, the only way to make it work is I’ve got to come up with a gimmick.
Unfortunately, that quotation standing by itself lacks perfect clarity. More unfortunately, Rolling Stone has removed from its site an earlier portion of the interview — such portion, as luck would have it, upon which Corgan was building in the Stereogum-quoted segment. Mercifully, however, that earlier portion was saved for posterity in a post on HU. Here (again) is that earlier portion of the interview:
RS’s Evan Serpick: It seems like the last decade or so, we haven’t seen many superstars emerge. Do you think it’s because of the focus on singles or the fickle market?
Billy Corgan: Number one, I think there’s just too much. I mean, how can you ask an eighteen-year-old to sort through everything that they’re presented with? Realistically, just being hot and talented and having a good single isn’t enough anymore. You really need like the extra story, like Amy Winehouse had, or a Britney freak-out. Like, Radiohead putting out a great album is not enough of a story. Radiohead putting out a free album, and blah, blah, that’s the story. So it becomes more media-driven, event-driven, than music-driven.
Corgan’s intent here is rather clear: he is describing what he sees as a problem with the contemporary culture or music industry, such problem being that what gets attention for an artist is not “a great album” (note his implication that In Rainbows is a great album) but an “extra story” like a “freak-out” or a “free album”. With this fuller context, it’s (more) obvious that the Stereogum-quoted section is an expression of empathy for young artists and an affirmation of the primacy of music over drama and PR escapades. (You know, everything for which an “indie” blog is supposed to stand?)
To be clear myself: I’m assuming Rolling Stone just wanted to tighten up the interview and thus they quite innocently removed a part that appeared redundant. However, I see Stereogum as going out of their way to jump to a shocking conclusion, when any attempt at sympathetic research would quickly reveal that Billy Corgan very much likes Radiohead. But, you know, fo*k that. Why bother when some manufactured drama between the Devil and the angels (right) can really pump up the page views? You see, Billy?! For generating ad revenue on the Internet, publicity is definitely better than…truth.
Are we not also aspirational hipsters?! 5:49 pm // Friday, October 12, 2007Posted by jjb in criticism, pitchfork, radiohead, rant.
I realize that Pitchfo*k, as a matter of editorial policy, makes no pretense at objectivity (or “objectivity”); I think that is terrific, really, and HU sure doesn’t pretend to be objective either. That said, I think the following three facts are in considerable tension with each other:
- Pitchfo*k is, or at least has the reputation for being, a sort of one-stop shop for musico-cultural guidance to a stratum of aspirational hipsters.
- This, from Tuesday, is fairly representative of Pitchfo*kian attitudes toward/ coverage of Radiohead (and many other bands): deeply contextualized, centered around matters of music and the creation thereof, and editorially positioned in the respectful-to-fawning range.
- This, from today, is fairly representative of Pitchfo*kian attitudes toward/coverage of the Smashing Pumpkins: shallow and disjointed, focused primarily on trivialities and supposedly telling “gotcha” moments, and oscillating between qualified respect and sneering dismissiveness.
They’re entitled to their opinions, I’ve got mine, and that’s all good. But let’s not kid ourselves; once we get beyond questions of competence — and Billy Corgan, Jimmy Chamberlin, Thom Yorke, and Johnny Greenwood are all palpably competent — notions of objectivity play a diminished role in cultural criticism. I personally have zero doubt about my ability to stand on two feet and argue down to brass tacks for the proposition that, relative to Radiohead, the Pumpkins have a roughly equally defensible claim to be a vital/vibrant/enriching/inspiring/enlightening/whatever artistic entity. Pitchfo*k could put up whomever they wanted to take the negative side, and sure, that person might be able to win over much of the audience in a hip debate hall, but I find it hard to imagine that I personally could feel that I had been exposed or ruffled in whatever process would take place. I already know why I believe the Pumpkins merit great respect; I’ve been thinking about it for a long, long time now; hopefully, over the past and future lifespan of this blog, reasons iz communicated. I also know from experience that I’m not alone in holding this opinion; if there is desire or need for it, I would be honored if this blog were to serve as a comfortably appointed haven for that Pumpkins-respecting stratum of culture consumers. I guess we’ll find out.
Obligatory Radiohead backlash post 11:41 pm // Wednesday, October 3, 2007Posted by jjb in billy corgan, lyrics, radiohead, rant, video, vieuphoria.
When Billy said “the world is a vampire”, he covered Radiohead’s entire emotional palette with one line. Discuss.
(What? Was I supposed to say something about how I wouldn’t pay five pence for In Rainbows? Come on, as a “cause of the month” it is probably worth a pound or two.)