Wednesday, 24 May 2006

Piracy Studies The joke isn't even mine. But someone has ventured over here from Long Sunday approximately too-many-times-to-count tonight so I'll venture a reprint. Jodi suggested the creation of Department of Piracy Studies. I provided some ink for their brochure: Scholars of Piracy Studies explore and develop theoretical models to analyze, critique, and plunder cultural forms and social relations in order to create geographically transgressive symbolic categories of race, gender, and ethnic identity. The goal of the Piracy Studies Institute is to promote the study of shared assumptions, problems, and commitments of the various piratanical discourses. Begun largely in response to extraordinary changes in the 'humane sciences,' both in terms of methodological complexity and interdisciplinary orientation, the PSI seeks to bring about a confrontation among the disciplines with the aim of furthering the figurative and literal rape of all land-locked peoples irrespective of race, class, or gender. The PSI sanctions methodological and murderological diversity in the critical reconsideration of the rearticulations and recombinations of all them put to the knife. The PSI also sponsors two mini-seminars each year, given by scholars from outside the PSI who invite students to participate in their raids-in-progress in a series of a one- to two-week seminars at undisclosed locations up-and-down the Eastern Seaboard. Now you can get your Piracy Studies right from the secondary source and Bob's your uncle!
Aging Hipsters Acknowledge Desire to Purchase Adult Contemporary Albums By SCOTT ERIC KAUFMAN, Affiliated Press Writer 49 minutes ago IRVINE — Aging hipsters nationwide are fighting the urge to purchase two of the hottest new adult contemporary albums. Both albums—Paul Simon's Surprise and the Dixie Chicks' Taking the Long Way—boast producers who have what is called "indie cred." At the helm of Simon's Surprise is the esteemed Brian Peter George St. Baptiste de la Salle Eno. With the same deft hand responsible for such influential albums as Another Green World and The Microsoft Sound, Eno updates Simon's sound for a new generation of listeners. According to Simon, "I haven't sounded this fresh in since Graceland. I owe that entirely to Brian. His creepy atmospherics are the perfect counterbalance to my tendency to indulge in musical traditions I'm not altogether familiar with." At Amoeba Records in Los Angeles, a man in his late-twenties was seen clutching Surprise to a t-shirt celebrating Pavement's 1994 tour in support of Crooked Rain, Crooked Rain. "I like Brian Eno," he said. "You going to use my name in this? 'Cause my girlfriend would flip. But seriously, listen to the 'How Can You Live in the Northeast' or 'Everything About It Is a Love Song' and tell me that's not classic Eno." "They should have started collaborating in the Seventies," said another Amoeba patron. "The lyrics even have that corny Seventies environmentalist thing going on. I can almost see that indian tear up when I listen to it." The same cannot be said for the new Dixie Chicks album. "The Seventies?" asked one of the legion of Atrios readers who pre-purchased the album. "More like the mid-Nineties. They brought in members of Semisonic, the Jayhawks, and got Rick Rubin to produce. So long as they hate Bush and it don't sound like the Dixie Chicks, it'll be awesome." Rubin has acquired a reputation for transforming marginal acts into popular crossover sensations. He has worked with everyone from L.L. Cool J., the Beastie Boys, Rage Against the Machine, System of a Down, Johnny Cash, Weezer and the Mars Volta. He decided to work with the Dixie Chicks for the challenge. "People thought I wouldn't be able to re-mainstream Neil Diamond, but you've seen Saving Silverman, right? Have you heard Johnny Cash's 'Hurt'? Has anyone ever covered a song better? Have you ever seen a better video? People expect me to perform miracles." According to that guy over there in the beaten Chuck Taylors and fashionably weathered jeans, he just may have succeeded. "You can actually hear Gary Louris on four of the songs. And the harmonies are sort of pretty sometimes. What's this in my hand you ask? The latest TV on the Radio album. Heard of them? Didn't think so. I'm still cool. Stop laughing." Gary Louris does sing harmony on "Everybody Knows." Given Rubin's penchant for trenchant covers, one would expect it to be a cover of Leonard Cohen's immortal "Everybody Knows." Or Concrete Blonde's incredible cover of Cohen's tune from Pump Up the...

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