Identify the following passage:
"Might sound like the theme to an interstellar broadcast of hullabaloo but this is no dance party. Strummed guitar and woodwinds anchor the smooth start, but before long the song sails into lurching seas that drench the pretty ballad in sickly synthesizers. Going on toggles between a brisk shimmy and a gospel symphony, navigating a split personality with the brash grace accessible to those rare artists who have mastered conventions with the sole intent of subverting them."
Is this...
A. John Updike's "Ode to
Steely Dan"
B. The pitch for the opening scene of a new Star Trek movie
C. The most pretentious poem turned in at
Hamline University's first year creative writing courseD. A review of the new Gnarls Barkley cd
(Cue Jeopardy music now...)
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Times up, pencils down, indignation to follow. If you said D, you are correct, although any of the other answers would probably be more worthwhile. Yes, in the music review of The Odd Couple, Boston Globe writer Joan Anderman brings us through metaphors ranging from space to a tempest at sea to for some reason people with schizophrenia (who knew Sybil was actually just a misunderstood musician apparently she couldn't "master conventions with the sole purpose of subverting them") all while only describing two songs. I think its two songs at least, I got lost at sea between the interstellar broadcast and the alliteration orgy of sickly synthesizers. Now its obvious this writer just went a little overboard on thesaurus.com but...oh wait...other reviews...
The Onion: "the kaleidoscopic, casually continental
The Odd Couple...These pop-art pranksters deliver at least three infectious delights for every arty misfire."
New york Times: "Packed with arid, minor-key cinematic flourishes — the film composer
Ennio Morricone should get some sort of intellectual-property credit — it hovers between a timeless form of nostalgia and a timely strain of paranoia."
Los Angeles Times: "walls of percussion, stuttering electro-tribal beats, delicate bits of guitar, soaring strings and exuberant '60s dance music with vocals even more adept and soulful than last time."
Google Books: "A charming introduction into a hermit's life! Four weeks torture, tossing and sickness! Oh these bleak winds and bitter northern skies and impassable roads, and dilatory country surgeons!"
Actually that last one was from Wuthering Heights but it makes about as much damn sense. For newspapers, which of all our literary forms are the most terse and to the point and depend on simple descriptions of exactly what you need to know, why do the music review sections come off like a grad student trying to reach a term paper minimum? At the end of reading all those reviews, all you come away thinking is "Well I liked the first cd, maybe this is like that..." because to be honest, the Wuthering Heights review would probably give me a better tone of the actual music. Hermits life? Four weeks torture, tossing and sickness...I'm guessing Eliot Smith album, maybe Pink Floyd when we start talking about apocalyptic bleak winds and bitter northern skies. Either way, music reviewers when a Victorian writer is making more sense than you, you need to do some reevaluating.
And speaking of Floyd, check out this review in Rolling Stone for Dark Side of the Moon when it came out:
"David Gilmour's vocals are sometimes weak and lackluster and "The Great
Gig in the Sky" (which closes the first side) probably could have been
shortened or dispensed with, but these are really minor quibbles.
The Dark Side of the Moon
is a fine album with a textural and conceptual richness that not only
invites, but demands involvement. There is a certain grandeur here that
exceeds mere musical melodramatics and is rarely attempted in rock.
The Dark Side of the Moon has flash -- the true flash that comes from the excellence of a superb performance."
Ahhhh straight to the point, it makes sense, even with the flowery language of "mere musical melodramatics", it doesn't give any metaphors about sea storms and Dark Side of the Moon is all confusing metaphors. And lets be honest, Gnarls has put together some excellent tracks but they are not rising to the level of complex baffling concept album that Pink Floyd was churning out. For gods sake, the lyrics of the song called Whatever consist of:
I don’t have any friends at all
Cause I have nothing in common with ya’ll
So who’s gonna catch me if I fall
My backs always against the wall
I don’t have anything to say
I want everything to go my way
Shut up mom it is not OK
I’m alone almost every day
But it’s cool (it’s cool)
It could be better (could be better)
I don’t care (I don’t care)
Whatever (whatever)Hold up my man
La la la la lalala
Whatever
La la la la lalala
Whatever
La la la la lalala
Whatever
La la la la lalala
We're not talking The Roots social commentary here. So, music reviewers you've just lost your way. Take a deep breath, and if the album you are describing has lyrics less complicated than your description, put it down for a few minutes, write a poem, pull a Klosterman and write a meandering novel and then try again. No worries, we are still all very impressed.