Related to that Trent Reznor interview I was recently fawning over, here's the full Panorama 2017 performance from NIN. I watched it twice, back to back. I've never seen the band live and it was quite a treat to be able to hear them perform such a variety from their catalog. The light performance isn't as intense as previous tours but it's still quite a spectacle and the band themselves are as intense as I'd hope for, even for band having done this for 20+ years.
I've really been trying to make a concerted effort to amp up my contributions to We Own This Town. While I was in New York, I kept up the site but didn't do a great job of posting new stuff to the site; mostly just because of the distance. Now that I'm back I'm finding it much easier to feel connected to the scene here and try my best to get the word out about all the great work flowing out of the Nashville area.
In fact, this edition of the podcast was finished a few weeks ago and I immediately started working on the next. I got so caught up on the influx of new work that I just forgot to post this compilation! It's a great problem to have. There's so much great music to work with, I'm getting ahead of myself.
I never cease to be impressed by interviews with NIN frontman Trent Reznor. He is eloquent, hyper aware of his place in the musical landscape and always insight about the role of technology. This long conversation he recently had with The Vulture, In Conversation, is no exclusion to the rule. Interviewer David Marchese, while polite, pulls no punches in asking Reznor about the hurdles he had to overcome with The Fragile, the overwrought presentation of Year Zero, the impact of listening to "Hurt" with his kids and what his real feelings are on musicians getting in bed with corporations.
It is, unsurprisingly, filled with entertaining and pleasing responses from Reznor. It's impossible to pick a favorite passage but I really liked this bit on how the Internet demystified the gap between listener and artist:
One is the demystification of artists. Growing up, I didn’t know what Pink Floyd looked like and I didn’t need to know. In my mind, they looked like fucking wizards, man. I remember seeing a picture of Supertramp - and I loved Breakfast in America - and I was like, What the fuck?
That's probably the least eloquent thing he says in the interview but certainly among the funniest. If you're a fan, you likely need no incentive to go read. If you're not a fan, I do suggest a heavy skim for his bits on the ways the music industry is changing and the struggle artists undertake to endure past one weekend of streaming in the New Releases Spotify collection.
Even the most cynical person would have a hard time finding something nefarious about Bandcamp's latest announcement that they'll be donating their profits in support of Trans Rights this Friday (August 4th). 100% of Bandcamp profits will be given to the Transgender Law Center, a non-profit working for equality for all.
Their announcement also comes with a list of music "made by trans and gender non-conforming artists on Bandcamp." It's a big list to sort through but you've got a few days to familiarize yourself. If you're not interested in discovering new music, maybe it's an appropriate time to clear out your wishlist.. or at least make a dent in it.
Maybe not right now but sometime this week, sometime today, sometime soon, carve out a little time to listen to the Long Distance episode of Reply All in which host Alex Goldman is called by a telephone scammer and proceeds to engage with them... fully. It's outlandish, hilarious and contains a pretty unbelievable, continuously unfolding, tale.
The NY Times Lens ran this great piece on Harf Zimmerman and his collection of images from Hufelandstrasse, Germany in 1980 and I'm entranced by it. He spent a great deal of time creating portraits of the residents of the socialist East German neighborhood, both in their homes and on the street, creating a unique, humanized, time capsule.
All of these images have been released under a Creative Commons Zero licence, making them free to use, share and modify for private as well as commercial use without the need for attribution (credits). They are as completely as possible in the public domain.
It's a hodge podge of imagery to be sure but it's that bizarre eclecticism that makes it such an appealing browse.