As the long-predicted mediapocalypse finally takes hold, I find my annoyance level with the deathbed histrionics of many in the field — especially the journalists bemoaning their lost birthrights, way of life, etc. — rising. Here’s but one example from a movie critic suffering from the “when you’re being run over by a lorry, everything looks like a lorry” syndrome. Perhaps I spend too much time gazing into the media mirror, but the sheer volume and pathos of these pieces is on my last nerve.
Part of that is because it’s hard to feel sorry for the pig who built his house out of straw and got belligerent when one of his brothers tried to bring him some bricks. But a lot of it is because people in this trade (myself included) tend to succumb to the notion that because we are the storytellers, our stories are inherently the most interesting and important.
But as the dirges drone on; as the golden remembrance of things that didn’t really pass but we’d like to think did dominate the media — and they will for the next couple years — I find myself indignant that these muses of misery were largely silent when other members of our industry suffered the same fate. Keep Reading
Time prohibits this being as fleshed out as my last Guilty Pleasures post, but a Twitter debate with my pal Houston last night compels me to make a brief case for this album as a horrible, wonderful gem.
The album, actually called Two the Hard Way, is billed to “Allman and Woman,” ie: Greg Allman and Cher, during their brief marriage. It was a critical and commercial flop.
But it had an wonderfully terrible airbrushed cover. Allman looks like a intellectually challenged dog who caught a car and doesn’t know what to do with it. Cher looks like, well, Cher. Keep Reading