Entertainment
“A-Punk” — Vampire Weekend
In this episode, hosts Cole Kushner and Charles Holmes dive into the question of what defines the greatest album of the 21st century. They reflect on memorable live music experiences, particularly a u...
“A-Punk” — Vampire Weekend
Entertainment •
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Interactive Transcript
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If you had to pick just one album to define the 21st century so far, what would it be?
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I'm Cole Kushner from Disect.
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And I'm Charles Holmes from The Midnight Boys and on Tuesday, July 29th, Colin Iron
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watching season 4 of Last Song Standing.
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But this year, we're mixing things up.
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Instead of searching for an artist's greatest song, we're asking an even bigger question.
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What is the greatest album of the 21st century so far?
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Listen to Last Song Standing on the Disect Podcast Feed or the Disect YouTube channel
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starting Tuesday, July 29th.
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Hello, friends.
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Just a quick announcement before we kick off today.
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The announcement is that 60 songs is going on break for a period of two months or so.
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Two months or less, I'm pretty sure.
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This is our regularly scheduled time off every 15 episodes just to give everyone a quick
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respite to give our producers, especially a much needed break from my whole thing.
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You can find me on Instagram, Blue Sky, and less often Twitter, and I will update you there
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with specifics as we get them.
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But just know that we will miss you all terribly and we will return rejuvenated very shortly.
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See you soon.
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Thanks.
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We don't talk enough about how cool I used to be.
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So now we've come to the part of the night where the dirty projectors and York perform.
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That was me just now going, woo, in the background there.
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No, it wasn't.
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Of course that wasn't me.
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I would never go, woo, at such a rare and prestigious event.
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That's not cool, but I was there.
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The night of May 8th, 2009 at Housing Works, that's a cool bookstore in Soho, that's
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a cool neighborhood in Manhattan.
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When the dirty projectors, that's a cool rock band, performed live with Bjork, that's
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Bjork on a suite of extremely cool tunes about whale watching from a mountain in Northern
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California.
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The guy handling the introductions here.
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That's author and show promoter and cool website grew Brandon Stozy.
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He also published a great book about crying and public.
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Brandon's really cool.
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These tunes were eventually released in 2011 on a dirty projectors and Bjork studio EP called
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Mount Wittenberg Orca.
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But to paraphrase Peewee Herman, I don't have to listen to it.
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And Dottie, I lived it.
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And I'll say, first of all, that the experience of standing physically, what, 70 feet from Bjork
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on stage when she hits one of those patented incomprehensibly rad Super Bjork vocal swoops,
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like on the word wear just now, the curve and nose where you all got that is an absurdly
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life changingly cool moment.
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That is a thunderbolt straight down your spine.
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Second of all, is this fucking guy going to go with the whole time?
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Like is he going to be carrying on in this matter?
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The whole time Bjork is singing 70 feet away from us on stage in a bookstore.
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He better not matter.
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A fact, no, he ain't.
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And I'll tell you why the coolest thing about live recordings is a little nuances, right?
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The ambient noises, the shuffling, the muttering, the imperfections, the sense of reverent
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people gathered in a room together.
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And so halfway through this song, if you listen very closely, you can hear me personally,
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grab the woo guy and DDT him into the housing works cookbook section.
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A DDT is a devastating pro wrestling move that I can definitely do.
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And I certainly can describe it to you like logistically.
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I just choose not to do that.
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It's very low in the mix.
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But if you concentrate, you can hear a faint boom right here as I heroically wheylay this
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clown.
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Shut up.
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It's in there somewhere.
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Trust me.
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I'm just kidding.
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Obviously, housing works is way too cool to have a cookbook section.
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Hey, did I ever tell you that I lived in New York City in the mid to late 2000s?
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And I got to be the uncoolest person in the room for some cool stuff.
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There's me skulking around the extreme periphery of housing works, pressed up against the bookshelves
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way in the back because I am tall and I am deathly afraid of blocking somebody's view of Bjork
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and getting clonked on the head with a cookbook.
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You know what I'm doing back there?
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Actually, I remember this.
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The joint is packed, right?
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And so I'm pressed up against the back wall of the bookstore.
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And I'm in the fiction section shelved alphabetically.
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And I'm standing near the seas, all the letter C authors.
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And I start pulling out Tom Clancy books and reading just the last few sentences in
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every Tom Clancy book.
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I don't know why I'm doing this.
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You know, Tom Clancy, he wrote the hunt for red October and several dozen other like
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Uber dad books, Reagan era, military thrillers, Jack Ryan.
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That's Tom Clancy's famous character.
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Jack Ryan, who knows a lot about World War II and gets to beat up a bunch of terrorists,
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like patriotically.
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There's a Jack Ryan TV show on Amazon Prime now where John Krizenski plays Jack Ryan.
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And in season two, he personally punches the president of Venezuela in the face.
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If that's not exactly true, I don't care.
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I just start pulling out Tom Clancy books, flipping to the last page and reading the endings
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allowed.
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I'm doing this as a bit, I guess, to amuse my rock critic friends between opening acts
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to burn off some nervous energy.
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I was young.
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Okay.
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Okay.
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I was 30.
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We sure seemed all at the time, but it sure seems young now.
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Tom Clancy, the cardinal of the Kremlin, 1988 last page quote.
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One way or another, we all fight for the things we believe in.
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Doesn't that give us some common ground?
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Jack asked.
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He walked off to his car, leaving dolmatol with the thought.
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Meanwhile.
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Apparently, everybody at this dirty projectors and Bjork show is whooping the whole time.
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Ridiculous.
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What kind of way is that to behave act like you've been there before.
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David burn is in this room.
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MIA is in this room.
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Haley Joel Osment, star of the sixth sense and later happy Gilmore to that guy, that kid,
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whatever, he's apparently in this room.
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Bjork is on that stage.
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Am I the only person in this room who truly grasps the importance, the solemnity, the
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gravity of this event?
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Tom Clancy.
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The sum of all fears, 1990 last page quote, killed enough?
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Ryan slid the sword back into its sheath and let it fall to his side.
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Yes, your highness, I think we all have.
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My one remotely concrete rock critic type thought as I watch this show is that I like
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to imagine that the dirty projectors are singing in binary code.
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Like they're exceedingly cool staccato, coral, yelping, complimentary sounds like binary
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code, except instead of zeros and ones, it's a a a a a a a a a a that's all I got in terms
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of like analysis.
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Did I blog this show?
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I bet I did.
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I am afraid to go find out if I blog this.
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Never mind.
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Forget I asked Tom Clancy executive orders, 1999 last page quote.
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Thank you, Mr. President.
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We looked out across the long horizon.
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We're building up to the huge cataclysmic emotional climax here.
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We're Bjork in the whale lock eyes and intensely vibe with each other and come to a profound
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metaphysical understanding.
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Meanwhile, why am I still doing this Tom Clancy the bear in the dragon 2000 last page quote
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for one particular person in Beijing that changes meant that her job would change somewhat
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in importance if not in actual duties.
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Ming went out to dinner.
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The restaurant's hadn't closed with her foreign lover gushing over drinks and noodles
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with the extraordinary events of the day and walked off to his apartment for a dessert
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of Japanese sausage and quote yo.
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We looked in each other's eyes and realized that we only.
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Sings Bjork to the whale or Bjork sings that about the whale to us.
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So occasionally in this era, I get to go to these cool shows in New York City shows that
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radiate a palpable cultural significance shows that will be blogged possibly by me and
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definitely by others shows that will be attended by people you may have heard of and perhaps
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even admire.
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Maybe it's me blocking your view of Bjork or maybe it's quest love blocking your view
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or tie on day Braxton the dude from that cool rock band battles.
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I love that band.
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Maybe it's him blocking your view.
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He's tall in my experience.
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Anyway, going to these shows you just get a vague satisfying but also weirdly intimidating
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sense that you're in the thick of it.
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You are present physically for an occasion of moderate societal impact.
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There is Brooklyn the idea, right?
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The amorphous fantastical cliched, deified and or derided quote unquote indy rockin
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quote unquote hipster playground that exists primarily on the internet and there is Brooklyn
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the physical location where one might live and walk dogs and drink coffee and attend concerts.
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And sometimes you find yourself at a show so radiant with greatness and coolness that it
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feels like you're in the real Brooklyn and the internet Brooklyn simultaneously.
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Actually we're in so.
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Bjorks and so we're all watching Bjork and so hope.
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But this feels spiritually like a Brooklyn thing and a major topic here today is Manhattan's
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valiant attempt to rest the crown of zeitgeist defining coolness back from Brooklyn.
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Listen, I got a lot of my mind and I never seen Bjork live before in a venue of any size
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and I'm freaking out a little bit and we all got our weird defense mechanisms.
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Tom Clancy.
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The hunt for red October 1984 quote Ryan missed the dawn.
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He boarded a TWA 747 that left dullest on time at 7.05 a.m.
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The sky was overcast and when the aircraft burst through the cloud layer into sunlight Ryan
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did something he had never done before.
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For the first time in his life Jack Ryan a fella sleep on an airplane.
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And then we all whoop that Bjork and the dirty projector some more and then it was over.
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Hey great news everybody I did blog this show.
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Oh thank god I blogged about this show for the village voice and apparently I got paid
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by the adjective.
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Sheesh that's a weird payment system.
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I mentioned Haley Joel Osmond in this blog and I honestly can't tell if I'm joking.
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I don't know if I physically saw him there or if I'm just using Haley Joel Osmond as
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an example of the sort of celebrity you might have seen there.
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That's a good sign right when you blog a blog so oblique that even you can't tell if you're
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joking that's fantastic you may be asking how did I find time to be fully present and maintain
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a rock critic type laser focus and take careful lucid insightful handwritten notes for my little
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blog during this Bjork and dirty projectors deal.
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If I'm also way in the back flipping through the hunt for red October how could I possibly
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goof around the whole time but later generate an attentive and decisive piece of online music
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criticism.
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Well I'm afraid you somehow both under and overestimated my professionalism hell yeah I can multitask hell
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yeah I can read excerpts from the cardinal of the Kremlin allowed to my rock critic buddies during
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all the opening acts and then later when I'm writing I can be like after a hushed plaintive
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opening set from Google Google Google Google this blog of mine does remind me that after the
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housing work show I went to the Bjork and dirty projectors after party which took place at Cooper
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Square hotel a super fancy hotel in the East Village either this hotel is called the standard
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now or it was always called the standard and I misidentified it as the Cooper Square hotel I'm
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getting paid by the adjective I'm not getting paid by the fact all right I'll I can tell you
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about this hotel according to my blog is that it's absurdly oversized over extravagant lovely
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and vertiginous that'll be four dollars anyway Bjork DJ the after party and played trail by the clips
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I'm trail only me don't pitch up so trail okay and this also is a surreal absurd life changing thunderbolt
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type moment watching Bjork behind the decks or whatever and she's bouncing around joyously and
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going bitch I'm trail bitch I'm so trail everybody was into the clips in 2009 trust me even the
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whales were blogging about the clips in 2009 in my little blog from this event I wrote that Bjork
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DJed this after party but I put DJed in scare quotes that's rude what hey calm down lester bangs but
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I was there I spent nearly five years being there I spent nearly five years living in both Brooklyn
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the mythical sociocultural internet idea and Brooklyn the literal physical place I arrived there
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in 2006 proudly and skittishly serving as music editor at the village voice of the Leved Cultural
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Institution recently acquired by a polarizing national chain of alt weeklies as part of a
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spiritual hostile corporate takeover in the out of town dickish spiritual hostile takeover
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guys had fired the previous beloved village voice music editor and hired me instead we didn't
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even live in New York yet they installed me there in the beloved guys place so at first anyway
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everyone at the paper justifiably hated me I arrived in New York City in 2006 and I'd missed it
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I was so worried I'd missed it New York City was so cool for so long but by 2006 it wasn't cool
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anymore and I'd missed it that's what you do when you moved to New York you move there you move all
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your shit in your place and you wake up that first morning do you even have a bed yet there's just a
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mattress on the floor and you walk out your front door or you climb out of your manhole or whatever your
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real estate situation is and there it is New York City the place you live now and you take a deep breath
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new exhale and you say out loud I missed it because you did everyone thinks they missed it and
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everyone's right but also everyone's wrong so when the early 2000s I'm living in Ohio and I'm
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reading about how rock is back in New York City is back I'm reading about the strokes and the yay
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yas and interpol and LCD sound system and TV on the radio and it all sounds so amazing so revolutionary
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so paralyzingly cool so legitimately life changing and I finally get to New York City in 2006 and
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it's over I missed it I can still see the strokes and the yay yas and interpol and LCD sound system
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and TV on the radio and I do but I see them now at say a huge famous uptown venue like Radio City
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Music Hall and not at a tiny cool underground dish of venue like say the Mercury Lounge on the
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Lower East Side I missed the exhilarating ascent the underground cool years the our little secret
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because we live in New York years these bands are still great but they're not mine to the extent that
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any art generated in this city can ever be said to be mine I missed it if you ever moved to New York
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you missed it even if you were born there you missed it babies born in New York City the baby you
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know comes out of the womb the baby says I missed it out loud audibly and then the baby starts crying
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and doesn't talk again for months everyone from anywhere at any time missed it but you take that
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first deep breath is a person living in New York City and you say I missed it out loud and then
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you get on with it whatever you're doing or trying to do and inevitably a cool new band will emerge
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to provide the soundtrack to you trying to do whatever you're doing and to the extent that you can
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say this about any art generated in New York City ever maybe right now this cool new band can be yours
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and nation business some modern piece of glass work down on the corner that you walk each day in passing
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the elderly says club won't ask wins suspicion the whole of motor corporations giving it
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in January 2010 the New York City Rock Band vampire weekend released their second album
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called Contra it will debut at number one on the billboard album chart this song is called
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White Sky and first of all to me this song beautifully evokes just the feeling of walking around New
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York City the awe but also the intimidation but also the palpable studied indifference of a person
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who walks around New York City all the time because they live in New York City and it's not cool
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anymore so play it cool so the first line there an ancient business a modern piece of glass work
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down on the corner that you walk each day in passing you are living and working and walking in day
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dreaming and perhaps blogging in the city that created culturally both the past as you understand it
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and the future as you imagine it in the sheer happiness of this particular vampire weekend song
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and also pretty much every other vampire weekend song the quick lift little afro pop bounce
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to white sky personifies both the spring and my step as i walk the streets of New York
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i'm not very cool and the chaotic manic way too fast stream of consciousness semi-intrusive thoughts
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bashing around my skull at all times as i walk the streets of New York alas i have no outlet
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for these random chaotic thoughts in 2010 because the podcast hasn't been invented yet to accommodate me
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little piece of carpet a pair of mirrors that are facing one another out in both directions
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thousand litre of julia's that come together in the middle of men at 10
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the podcast had for sure been invented by 2010 i assume my published blogs aren't necessarily
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accurate what makes you think my racing intrusive thoughts are accurate living in New York City
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and watching yourself as you live in New York City tending to the pointless internal monologue one
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generates whilst living in New York City these lines encapsulate that for me a little stairway
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a little piece of carpet a pair of mirrors that are facing one another out in both direction
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it's a thousand little julias that come together in the middle of man hat there are eight million
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stories in the naked city and if you're narcissistic enough all of them can be about you
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man hatten can be populated exclusively by eight million reflections of you hey did i mention
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that i saw a vampire weekend live the week the contra album came out at the united palace theater
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and washington heights that's a cool neighborhood in man hatten
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in my only concrete memory of this show really is vampire weekend bassist chris bello bouncing around
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on stage as the band opened with this song white sky i thought to myself the bassist is having so
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much fun up there good for him also the contra album cover was blown up real huge and projected behind
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the band the blonde lady with the polo shirt staring intriguingly at the camera the polo logo almost
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looks like a superfluous apostrophe between the r and the a in the word contra that lady would later
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sue vampire weekend claiming they didn't get permission to use that photograph and they'd
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settle out a court there's a whole fiasco that i probably blogged about several times but nonetheless
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fantastic album cover truly meanwhile lyrically white sky is still really really really doing it for me
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around the corner the house that modern art built a house for modern art to keep it out the
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closets the people who might own it the sins of pride and envy and on the second floor the
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Richard Sarah skate park vampire weekend will spend at least the first several years of their
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career serving as a weird intense flashpoint in various internet born rock critic debates about
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race and class debates about privilege and appropriation debates about rich people poisoning art
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debates about how one even defines the term rich people or the word poisoning or the word art
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but part of what's maddening about vampire weekend to the critics who find this band maddening
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is that vampire weekend are themselves constantly having that debate this band is constantly
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thoughtfully working through those ideas both in their interviews and in their songs
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and so super rich people owning priceless works of art owning and scare quotes and owning
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literally that plain fact that abstract idea that moral atrocity of anyone owning art at this
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scale that's all part of this song white sky as well the people who might own it the sins of
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pride and envy in the last line there and on the second floor the Richard Sarah skate park you
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fall down the rabbit hole of what that means precisely Richard Sarah the extremely famous sculptor
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famous for these huge installations these giant gorgeous awe inspiring intimidating and vaguely
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ridiculous monoliths of steel etc did Richard Sarah open a skate park or did trespassing punk
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skate borders turn one of his installations into a skate park why is it on the second floor you
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can spend a couple hours mulling all that over or you can just vibe man to the melodiousness
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of this song the jovial charisma the perfect pop song for quality of it all because whether you
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love vampire weekend or hate them any depth you project onto these songs will be equaled will be
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countered by the care and the thought and yes the depth that vampire weekend used to create these
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songs in the first place look up at the buildings imagine who might live there imagining your
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wallfords and a ball upon the sink there there's that awe and the intimidation and the pedestrian day
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dreaming again also do you know what wallfords are I didn't their tits apparently I thought they were
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shoes I just assumed they were shoes because anytime I encounter an unfamiliar proper noun in a
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vampire weekend song I just assume they're singing about shoes because sometimes they are this
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band is mine I'm claiming this band as mine because they emerged from New York City whilst I
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personally was living in New York City that's how the city works if you recently moved in New York
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City congratulations and also I'm sorry to inform you that you missed it but I was there a couple
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months ago I was at another show in Columbus Ohio I live in Ohio again Ohio is cool now I took my sons
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14 and 11 years old I took my sons to their first big concert I bought them pizza and gatorade
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this is an outdoor show in amphitheater with a big open lawn section we got there too late to get
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decent seats with some kindhearted friends the squeeze does in but even then my kids are a little
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too short to have clear sight lines so my 11 year old is sneaking into the aisle periodically
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because he can't quite see over the dude standing in front of them the concert starts my kids are
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surviving I make the kids wear earplugs and they don't want to but then when they find out how loud
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the music is they're grateful for the earplugs because I know what I'm talking about dad knows what
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he's doing and halfway through the show my younger sons got to use the bathroom so we walk up the
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lawn to the bathroom at the back of the venue and as we reemerge right at the moment when we can
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once again see the stage see the band on stage as we walk back down to our spots the band launches into
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one of their first big hit songs and my son and I get to have this nice little entrance music hero
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moment because my kids are carrying on a proud family tradition now my kids can say I was there too
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my name is Rob Harvilla this is the 30th episode of 60 Songs that explain the 90s Cole in the
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2000s and this week we are discussing a punk by Vampire Weekend from the first Vampire Weekend
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album released in 2008 and called Vampire Weekend a hyphen punk this song soundtrack this song
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has appeared in advertisements for HP printers and more recently dicks sporting goods I don't mean
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that as a criticism personally I got no problem with advertising see I love advertising can I
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please play you my all-time favorite song by the cool Brooklyn rock band grizzly bear
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this band is mine also from their third album released in 2009 and called Becca to Mist this is a
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grizzly bear song called foreground last song on the album grizzly bear specialize in elegant and
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achingly beautiful coral art rock type jams they sound like the whales with whom Bjork is vibing I
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remember so vividly hearing this song live but this memory is somehow both tremendously vivid and
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incredibly vague I don't know where they show us or when or who else was there or what else happened I
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just remember this song foreground performed in near darkness an absolute reverent silence I vaguely
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recall four long poles vertical poles on stage with a lamps on them in those lights were super dim
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for this whole song and possibly extinguished altogether but I could be imagining this googling
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like grizzly bear stage lighting or really anything grizzly bear related only brings up photos of actual
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grizzly bears like the animals it's a suboptimal band name grizzly bear SEO wise you got to name your
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band something totally random and silly and unforgettable and un-googleable for any other purpose
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like a vampire weekend but so grizzly bears doing this song foreground and the lights are way down
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the crowds absolutely silent time and standing still every hair on my arms is standing up and we're
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just locked in to grizzly bear singer eddroced ease voice even in this version of this song the studio
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version the studio version you are hearing in 10 second clips on some guy's podcast it's still so
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startling right the tremendous intimacy the opulent vehement of his voice we're all you know I'm
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still getting paid by the adjective it does not matter to me one iota what eddroced
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is singing here by the way like the words I don't know any of the lyrics to the song and I don't
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and I hope ed would understand and it would take that as the enormous compliment I intend it to be
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it's all in the bracing tone and atmosphere here the super simple piano recital piano riff the stark
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sumptuousness of edd's voice the overwhelming quiet the overwhelming calm of foreground it is
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translike it is transsportive it is a universe unto itself it is a brooklyn of the mind and of the
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soul grizzly bears got a ton of great songs but only one of them is this one
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i love that simple drumbeat starting to kick in right there
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this song is phenomenal but beautifully and patiently sung chamber pop of this gravity and density
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this would not appear to be party music little own pool party music but our friends jazzy and
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watching grizzly bear play a giant free outdoor show a pool party spiritually if not literally
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at the Williamsburg waterfront in 2009 grizzly bear playing another song from their
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veckid to mist album called ready able ready comma able this is the most blogged video
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in music blog history it is a 46 second amateur creep shot video and it is without
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question the ugliest visual composition of our young century go look at this thing again
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sometime it's disturbing it's hilarious jazzy and biancé are standing in the VIP section
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near this grubby little VIP tent just a little tarp roof sort of deal they're surrounded by lots of
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people remarkably they don't have like a pot mobile or anything and this video is shot
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serpitiously from just a few people behind them and you see the back of jazzy's head he's wearing
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sunglasses and you see him turning to his right to talk to biancé who's holding a plastic cup of wine
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and she's standing a few steps higher than him so her head is cut off by the VIP tent and beyond
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them you see the band you see grizzly bear on stage also mostly with their heads cut off by the VIP
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tent it's surreal it's macabre every time I go back to this video it takes me 10 full seconds
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to even figure out what I'm looking at I understand that this footage is shot like this because
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if the camera person were to attempt to get a decent and unobstructed angle of jazzy and biancé
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that camera person would immediately be shot with a bow and arrow or perhaps a cannon ball or whatever
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jazzy and biancé's security deal is working with nonetheless this video looks ridiculous and yet
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is of tremendous cultural importance here's the grizzly bear song that probably convinced them to come
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check they shit out in the first place
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I forgot how weird this song's video is this song is called two weeks it's off grizzly bear is
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a veka to mist record this is the band signature song and biggest hit and I am mildly surprised to
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learn that two weeks didn't shart on the hot 100 but the veka to mist record hit number eight on
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the billboard album chart this is a top 10 pop album but improbably and impressively it's pop
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on grizzly bears terms grizzly bears music is a lavish cathedral surrounded by modest uh yurts
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and grizzly bears uncompromising ascent is indicative if I may be so bold of a legit
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indie rock movement so in 2006 a scrappy local promotion outfit called jelly NYC starts doing free
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outdoor summer concerts at McHaren Park pool in the abandoned and drained Olympic-sized pool there
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in 2009 they move over to the Williamsburg waterfront and that venue is less cool and by 2010 it's
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all over but you know nothing gold can stay featured artists include the dirty projectors the hold
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steady beach house mgmt super chunk etc etc we're talking 5,000 people officially and possibly way
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more than that unofficially uh we're talking dodgeball we're talking basketball we're talking giant
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slip-in slides we're talking many pancakes for sale for five dollars we're talking every hipster joke
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you've ever heard in your life made flesh I just read a great oral history of these parties on a
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sub-stack called will have to pass and apparently at the mgmt show somebody found a purse that
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somebody else had pooped in make of that what you will I think it's gross I saw fucked up and
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mission of Burma at the Williamsburg waterfront two fantastic punk adjacent bands who started up in
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two different decades another time I saw DMC as in run DMC I don't do slip-in slides though that
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is both beneath my dignity and beyond my physical ability but yeah Jay Z and Beyonce and Salonge
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went and saw grizzly bear and the footage became the Zapruder film of the late 2000s music
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blogosphere and the next day Jay Z does an interview with MTV and they ask him about grizzly bear
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and Jay Z says quote what the indie rock movement is doing right now is very inspiring and quote and
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usually I just leave it at that because that's honestly very funny to me Jay Z saying what the
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indie rock movement is doing right now is very inspiring that's objectively amusing but I just
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went back and reread his full quote and it would appear not for the first time and probably not
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for the last time either it appears that I have done Jay Z a disservice because what he says in full
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is really perceptive and fascinating Jay Z calls grizzly bear an incredible band then he says quote
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the thing I want to say to everyone I hope this happens because it will push rap it will push hip-hop
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to go even further what the indie rock movement is doing right now is very inspiring it felt like us
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in the beginning these concerts they're not on the radio no one hears about them and there's 12
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thousand people in attendance and the music that they're making and the connection they're making to
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people is really inspiring so I hope that they have a run where they push hip-hop back a little bit
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so it will force hip-hop to fight to make better music because it can happen because that's what
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rap did to rock when rock was the dominant force in music rap came and said y'all got to sit down
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for a minute this is our time and we've had a stranglehold on music since then so I hope indie
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rock pushes rap back a bit because it will force people to make great music for the sake of making
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great music and quote what Jay Z wants is a worthy adversary genre wise Jay Z has observed
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correctly that here in 2009 hip-hop broadly has dominated popular music both chart wise and
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influence wise for a solid decade now two solid decades when's the last time rock of any sort was
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the consistently commercially and culturally dominant style of popular music Nirvana's never
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mind in 1991 green days dukey in 1994 Lincoln Park let's not get into it but deep into the 2000s
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certainly there's no contest even when the strokes are at their absolute apex even when rock is back
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and New York is back and rock and roll is cool again the strokes do not have a number one record
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the strokes do not have a number one song the strokes in fact have exactly one song that ever charted
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on the billboard hot 100 and that would be their 2005 song juice box which charted for exactly one
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week at number 98 but now Jay Z standing in the Williamsburg waterfront VIP tent in 2009 vibing
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intensely to grizzly bear amongst many thousands of young people who are rollicking down slip in
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and pooping in one another's handbags and so forth and Jay Z wonders if Indy Rock quote unquote
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can finally challenge hip-hop's cultural supremacy if only to give hip-hop some fresh motivation
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and that ain't gonna happen honestly or it ain't gonna happen at Jay Z's preferred scale grizzly bear
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dirty projectors animal collective etc this late 2000s era of huge Brooklyn diaspora bands
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these are beloved groundbreaking important enduring artists but they're not cover of spin magazine
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bands they're not number one album bands they're not Saturday night live bands but who is anymore
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and here we have vampire weekend a spry young quartet from Columbia University day viewing in 2007
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with a handful of bizarrely and instantly phenomenal iv league afro pop songs available on the
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internet most notably this one called Oxford comma vampire weekend all right we got Ezra
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Canig on lead vocals and guitar primarily we got rostum botmongles on various keyboards and drums
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and whatnot plus he's the producer we got Chris Bayo on bass we got Chris Thompson on drums
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rostum will exit after the band's third album 2013's modern vampires of the city to focus on his
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own solo and production work though he'll still contribute to vampire weekend occasionally otherwise
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vampire weekends core lineup will hold forgive me but the who gives a fuck in the opening line
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who gives a fuck about an Oxford comma is tremendously important the crudeness amidst the
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sophistication the swagger amidst the stylish stuffiness the who gives a fuck is like when the
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cool substitute teacher flips their chair around and sits on it backward right except it's the actual
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cool version of that if you love this song you love this song instantly you love this song within
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30 seconds if you are the disposition to hate this song too peppy too jauntty too clever too
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too too money if you hate this song you hate it within 30 seconds but Oxford comma imprints itself
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on you instantly all of vampire weekends songs do from the beginning there is a rampant
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brazen relentless catchiness to these songs that you can accept or reject but you cannot ignore
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in 2019 I wrote a long feature for the ringer looking back at vampire weekends early years
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talking to fellow rock critics who love them and fellow rock critics who kind of maybe hated them
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and the great Charles Aaron who has been magazine's music editor at the time Charles says quote
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people I know who don't follow new bands they would hear one vampire weekend song and just be like
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what's that that's catchy as shit who are those guys and then they'd hear who they were and they'd be
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annoyed
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like that
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Charles Aaron was one of my absolute favorite people I met in New York City and I hope he as well
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and what you hear on this song Oxford comma the jolly little keyboard riff the compact and charming
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little crescendo of the chorus here the jovial class warfare of lines like why would you lie
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about how much coal you have what you hear on this song harmonizes alarmingly well with what you
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don't hear you don't hear guitar distortion you don't hear angst self-loathing or even melancholy
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you don't hear an iota of 90s type underground concern about selling out or getting too big too fast
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or winding up on the wrong sort of TV shows or ad campaigns or magazine covers you don't hear a concern
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with cool the way cool usually manifests itself in hot new rock bands the sort of cool synonymous
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with aggression or danger or reticence you don't hear hesitation you don't hear philosophical
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hesitation and you don't hear musical or lyrical hesitation let me refer you here to a post from
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azirakanax prevampire weekend era blog which was called internet vibes
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internet vibes dot blog spot.com it's still up let me refer you here to a post from
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azirakanax prevampire weekend era blog which was called internet vibes
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InternetVibes.blogspot.com is still up.
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Let me refer you to an Internet Vibes post from Saturday, February 11, 2006, in which Ezra
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talks about his fascination with preppy clothes and grapples with a broader idea of authenticity.
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Or really, he valiantly refuses to waste any time grappling with the idea of authenticity.
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Quote, What is Authentic for a Guy Like Me?
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Fourth Generation Ivy League, de-rassinated American Jew born on the Upper West side,
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raised in New Jersey to middle-class post-hippy parents with semi-anglophilic tendencies
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and a propensity to put on Eastern European accents and use obscure Yiddish phrases.
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The obvious answer is that I, like all of us, should be a truly post-modern consumer,
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taking the bits and pieces I like from various traditions and cultures, letting my aesthetic
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instincts be my only guide. In fact, all of my friends, even the children of immigrants,
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seem to be in the same boat. We are both disconnected from and connected to everything.
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Now we've transcended mere clothes. End quote. He also says,
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and yeah, wow, this is a much more succinct way to put it, quote,
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do not pop your collar if you don't sail. End quote. Ezra Canning is about to sing the line,
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Lil John, he always tells the truth. And whatever your personal need, your reaction to that might be,
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you're going to remember that reaction for the rest of your life.
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And this is Vampire Weekend's most remarkable quality. This band's super power.
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Or the terrible source of this band's super villainy. They will shout out anybody. They will
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openly and confidently be inspired by anybody. They will let their aesthetic instincts be their guide.
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They will name their songs any old thing. This song, for example, and may the Lord not strike me down,
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please. This song is called Cape Cod Quassa Quassa.
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Like no, I do.
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Yeah, forgive me again, but the disconcertingly charming jauntiness with which Ezra Canning sings the line,
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do you want to fuck like you know, I do the way the F bomb as a verb flies out of his mouth.
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Do you want to fly off some poor guy's head while he's walking along the Hudson River and a stiff
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breeze. This guy singing, do you want to fly in that fashion is really something. Imagine any other
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popular rock band in history singing those words in that order. It sounds a lot different when you
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imagine like stone temple pilots singing it. The Jonas Brothers. I pick the Jonas Brothers at random.
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I don't know, dude. Cape Cod is a popular vacation spot in Massachusetts. Quassa Quassa is a dance
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style and a musical style originating in the democratic republic of the Congo, the phrase, the
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song title Cape Cod Quassa Quassa. That's what a joke and a front, a provocation with early vampire
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weekend, especially. I keep wanting to say and then I stop myself from saying that early vampire
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weekend songs are trolling. These four dudes from Columbia University describing their sound
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as upper west side Soweto on my space. One might reasonably characterize that as trolling.
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Soweto, that's in a historically musically vital township in South Africa. The upper west side,
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that's a semi cool neighborhood in Manhattan, but trolling implies insincereity.
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Trolling implies saying things you don't mean just to antagonize people. But when vampire weekend
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used the phrase upper west side Soweto, it's not that they don't mean it because the phrase itself
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doesn't actually mean anything. It's just two places in two different countries on two different
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continents getting bonked together the way a child might bonk two action figures together. But
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nonetheless, you get vampire weekends intent in bonking these two locations. These two cultures
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together. You can imagine the sound of upper west side Soweto in your head even if you don't want to.
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Or really, you don't even have to imagine it because this band unquestionably sounds like what that
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would sound like.
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This feels so natural.
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This is so natural.
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Meanwhile, that's the other thing. Speaking of provocations that are too sincere to qualify as
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trolling, it feels so unnatural. Peter Gabriel too. Even before vampire weekend starts getting tons
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of press and that happens pretty much immediately, even before that vampire weekend are clearly
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fully aware of how they will be described and to whom they will be compared. This band sound is
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very 80s, very upbeat, very mass appeal, pop, very thoughtful, very worldly. Think sincere of a
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little touristy rock stars dabbling in global sounds. This means Peter Gabriel. This means sting,
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perhaps in stings, interminable loot phase. And this means, yes, Paul Simon. I can't explain this,
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but even on the very first publicly available vampire weekend songs, as Ricanig sings like a guy who
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knows his band's debut album is going to be compared to Paul Simon's Graceland like 500,000 times.
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And that Graceland comparison will be apt. Each of those 500,000 times. But that don't make it not
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funny. Vampire weekend blows up immediately. Vampire weekends getting glowing reviews in the
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New York Times. A live review written by the great critic and friend of the podcast, Kellefacene,
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before the bands played more than a handful of prominent shows. Vampire weekends on the cover of
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Spin magazine before they even put a full album out. That cover story is written by the ringer's
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own Andy Greenwald. And here is the funniest line in that story while Andy is interviewing
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Rostam, quote, he requests that a discussion about his love for Wes Anderson be kept off the record.
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End quote, holy shit, vampire weekend perform on Saturday Night Live just a couple months
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after their self-titled debut album comes out in January 2008. The way Spin magazine's Charles
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Aaron put it to me was quote, things really broke right for them, but they're the kind of kids
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that things break right for. I like this song just fine, but I'm going to level with you and say
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that eight punk has never been my favorite vampire weekend song. And maybe that's because I literally
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don't know any of these words. Or because this is not my favorite vampire weekend song, I've never
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bothered to learn any of the words. Or both. Joanna drove slowly into the city. The Hudson River
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all filled with snow. She spied the ring on his honors finger. Oh, oh, oh, that is a nifty first
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verse. If I do say so myself, you get a vivid sense of place and a vivid sense of character.
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Multiple characters in four lines and the fourth line is just oh, oh, oh, oh. And while I maintain
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that oh, oh, oh is the most important and really only necessary part of a punk,
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lyrically, especially the hyperconfident good cheer with which Ezra sings oh, oh, oh, here
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on Saturday Night Live, having been introduced by Amy Adams. I do nonetheless greatly respect this song
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and the non oh, oh, oh, parts of this song. But I still got no idea what he's singing right here.
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Other than it's something about a lily white hand. Let's just assume he's singing about shoes.
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I'm telling you, it won't be so serious. You could be from it. Yeah, I am.
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Shut off this sheet. She's nothing in the young men's way. So good.
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Oh, right. That's the other other thing. The shoes, the clothes, the fashion, the preppiness,
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the button down shirts, the sweaters, the suits, the staunch refusal to be a t-shirt and jeans band.
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Rostum on SNL is wearing a genuinely majestic scarf. This scarf is glorious and also ginormous.
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It is a Lenny Kravitz scale scarf. If that means anything to you and I hope it does.
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In Lizzie Goodman's 2017 book Meet Me in the Bathroom, rebirth in a rock and roll in New York City,
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2001 to 2011. Ezra says quote, when we first started getting press, I felt the most excited when I'd
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see people describe the music as preppy because I loved the fact that we were getting people to have
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synesthesia. It doesn't actually make any sense to describe music as preppy, but suddenly people
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were describing it as if preppy had been a genre for the past 40 years. I especially loved it when
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people would describe us on stage and misidentify what we were wearing. They'd be like taking the stage
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in sweaters and polo shirts on a night where nobody is wearing a sweater or polo shirt.
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I started to feel like, damn, we're really building something. We're getting people to see things.
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End quote, I am not hallucinating Rostum's Lenny Kravitz scarf. I assure you, I do get why A-Ponk is
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the song from the first self titled Vampire Weekend Record that hit the hardest. That opening guitar
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riff is extra immediately super catchy. That guitar sounds like a house party. Like the kind of modest
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run of the mill collegiate house party Vampire Weekend were presumably playing at like 15 minutes
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ago before everything broke right for them. A-Ponk is ostensibly a punk song. It is two minutes and 17
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seconds long. It is suitable for pogoing or allying. It sounds like the earworm jingle for the ubiquitous
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TV ads for the Richard Sarah skate park. But on SNL at least it's a punk song with an honest
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of God's string quartet breakdown in the middle of it.
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And even here, in the first Vampire Weekend Records, shortest and sweetest and simplest and
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least sociologically and musically freighted pop song, there is a breezy mix of high and low culture,
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a sense of styles, eras, worldviews, lifestyles, clashing. It is wild to me now. Truly,
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to think about how much discourse this band generated in 2008, Ivy League discourse,
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cultural appropriation discourse, a racial discourse talking to the telegraph in 2010,
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Ezra says, quote, when Obama came to power, there was a lot of talk about a post-racial America.
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It's something that we've had to think and talk about a lot. Even when people define us,
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as one writer did, as the whitest band in the world, despite the specific ethnicities of our band.
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End quote, Rostem is Iranian-American, Ezra's of Hungarian Jewish descent. And I personally read
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tens of thousands of words of that discourse, and I have contributed, directly or indirectly,
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many thousands of words myself, these words included. And yet even when I'm deeply,
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happily mired in that discourse, my favorite part of A Punk is still when they go AAAA.
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AAAA.
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But yeah, this band drove some people up the wall. As the music editor at the Village Voice at the
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time, I made the bizarre and unnecessary, but also kind of heroic and sexy decision to publish
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two reviews of the first vampire weekend record, one generally positive review written by the great
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Mike Powell, and one generally negative review written by the great Julianne Escobito Shepard.
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Just to clarify, I am extremely pro vampire weekend, and pro this first record especially.
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And my argument for the greatness of this record boils down to one line on a one song.
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The song is called Campus. Of course it is. And this is the line.
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Look, I understand genuinely why someone, why anyone would find this sort of thing annoying,
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just the ease, the exceedingly collegiate and succience of walk to class in front of YAH,
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spill kefir on your kefir. The way he pronounces in front of YAH, the way he bonks the words
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kefir and kefir together, like more toys he just pulled out of the toy box. But in my experience,
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it makes you want to root for this guy. Even if he carries himself with the self assurance of
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someone who doesn't need anybody else rooting for him. And maybe it's just a thrill I get from
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rooting for a winner. Because vampire weekend comes the closest to embodying Jay Z's ideal
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of the indie rock movement. I would not quite say vampire weekend pushes back against hip hop
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writ large or that indie rock threatens hip hop supremacy in any concrete way. But vampire
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weekend second album, Contra comes out in 2010 and hits number one on the billboard album chart.
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And gives this band what a lot of indie rock buzz bands never quite get. A sustainable career.
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A career varied and sustainable enough that I can take my teenage sons to see vampire weekend,
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almost 20 years into that career. And my sons and Bob along politely to all the old stuff,
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when really all they want to hear is one song.
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And the butter with the wood and mine never fucking inside.
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My kids want to hear the vampire weekend song Harmony Hall from their 2019 album,
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Father of the Bride. This is now my favorite vampire weekend song too. And what a relief it is to
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me. Truly that all my old vampire weekend knowledge, all the discourse, all the I was there are
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can of my youth, my New York city years, all of that is kind of obsolete now. Or at least
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besides the point to them. To my boys, this is a great song by a band they'd previously never heard of
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and their lack of context doesn't matter. Harmony Hall as a song seems to describe surviving
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in a world I am not exactly psyched to be leaving for my children. If you catch my drift,
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but this song's fundamental sweetness, its bounciness, its hard-fought optimism,
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that is familiar to me. And even more useful to me now than it was back when this band was brand new
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and I thought 30 was old.
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We get snakes inside a place you thought was dignified. I don't want to live like this, but I don't want to die.
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Ezra doesn't sound as confidently lately. I've noticed, but at my kids' behest I have played
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Harmony Hall in the car 500,000 times or so. In that line, I don't want to live like this,
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but I don't want to die. It hits me every time. All I want now is for my kids to get to go off
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somewhere and revel in their own coolness and go somewhere where they can say I missed it,
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but also I was there 20, 30, 40, 50 years later. And in this hopefully not too idealistic fantasy of mine,
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I cannot think of a better band to provide the soundtrack as I watch my kids hop their collars
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and set sail.
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We are delighted to welcome Chris Deville, a great Ohioan. He is the long time managing editor at
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StereoGum and the author of the fantastic new book Such Great Heights, Colin, the complete cultural
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history of the Indy Rock explosion. Out this coming Tuesday, I believe Chris, welcome.
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Rob, I'm so excited to get bleeped out for saying
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you can call me.
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You would be the first guest to ever get bleeped out. And that would be a great honor and I would be
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delighted for you to receive that honor. It had never occurred to me that that might happen,
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but I'm glad it's you. I'm so glad it's you. It makes a lot of sense.
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Congratulations on the book. I would not read the colon into the title of just anyone's book.
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So I hope you take that as the honor that I intended to be.
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Yeah, I feel very honored. Yes, thank you.
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You don't have to say that. Okay, your book starts out in the 90s. I would say it spends most
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of its time in the 2000s, but it pushes deep into the 2010s as well. And so just to start off,
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where do you see vampire weekends into the overall arc of the Indy Rock explosion?
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Like, is it overstating it to see these guys as one of the high points, both commercially and
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critically? I don't think that's overstating it at all. To me, their body of work is one of the
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strongest of their generation. And I like if you listen back to some music from the late 2000s,
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early 2010s, you can just kind of cringe, but their car ride holds up. And then in terms of a
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commercial breakthrough, they were really in the culture. You know, their albums were debuting at
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number one. They had celebrities in their music videos. And I always remember they presented
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an award to one direction at the VMAs on the same night as the Miley Cyrus, Robin Thick,
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foam finger incident. That's right. Yeah. Trapped Lord in stores now.
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Yeah. So I think that just speaks to how they speak to how they fit into the book and the
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Indy Rock explosion that was really reaching its peak around the time they were blowing up.
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I feel like they were kind of the perfect band to capitalize on the blogs and the whole blog
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star making system. Because, you know, they were like, they were kind of pandering to hipsters in
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some ways. But at the same like the first song they ever released was a cover of Exit Music for
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StereoGums OK Computer Tribute album. The fact that we at StereoGums like to point out.
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But at the same time, like the kids at the, you know, the Frat Party who just wanted something
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lighthearted and upbeat, they're, you know, they're catering to them too. A Punk is basically like a
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Skaw song. And I mean, like as far as how they factor it, they factor into the book quite a bit.
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Because like you said, the book goes well into the 2010s. And when you move through like Contra
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and modern vampires, they become emblematic of the shift towards Indy bands incorporating more of
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these explicitly non rock elements into their songs. Like I think about the synths and the samples
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on run or like the dance hall beat on diplomats son or doing a rap remix of Step. That was kind of
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the wave at the time. And then by the time you get to the aftermath of that album, Ezra is talking
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about how the idea of a rock band has become unfashionable. And they prefer to think of Vampire
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Weekend as a recording project. And so yeah, they kind of are the arc of the book to a certain extent.
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Right. And what I remember about them is they got so huge, so fast, right? Like there's always
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overnight successes or just bands that seem to come out of nowhere. But like, you know, getting
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reviewed in the New York Times, you know, off like a couple songs available on the internet,
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they're on the cover of Spin before the Alums out there on SNL. Right after the Alums out,
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as you say, is that just down to how catchy the songs are and their ability to sort of pander
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to everybody? Like, is it surprising to you that this is the band that just really did seem to
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blow up overnight and stay blown up? It's not surprising that they would get all the critical,
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like, Housanas because they were like, they're doing the whole, there are many layers of meaning.
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And you know, the critics and the hipsters, they want the complexity and the contradiction and
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putting a little John and Venetan and Daram Sala all in the same song. But like, I think they
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they were really benefiting from kind of a crescendo in the blog hype situation. Like, you wrote
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that piece for Ringer about how they were like the last Indy Buzz band to break through.
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And they kind of got in right before all the taste makers started caring more about rap and R&B
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and the blogs were kind of filled off by streaming and social media. So like,
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you know, they kind of arrived at just the right time. They were just the right band,
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just the right time and kind of slipped in just before the door closed.
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Yeah. I think, if I remember correctly, you're a little younger than me. You were just a
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couple years out of college when the first vampire weekend record came out. Like, were you plugged
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in to sort of the critical discourse about them, all these arguments about, you know, cultural
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appropriation, upper, why, upper west side, Soweto, stuff like that. Like, were you reading a lot
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about them and thinking really hard about them or was this just like a fun band with some cool
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tunes, you know, and you don't really have to dig any deeper than that yet because it's not your
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job. Well, it was my job and I did have the baggage because like, I was very tuned in.
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I was working at Columbus, alive at the time, one of the weekly newspapers here, which, you know,
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sadly is gone like the rest of the weekly newspapers. And I was loading up pitchwork every day
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and clicking around the blogs and reading articles by you at the Village Voice. And, you know,
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I was, I was very tuned into the critical discourse and fancied myself to be a part of it. So,
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yeah, I was definitely engaging with Vampire Weekend on that level from the very start. And I'd
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be curious to see like what my reaction to them would have been if I didn't bring so much context
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into it. Like, this is a band that I definitely read about before I ever heard them. And it
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definitely like colored the way that I approached their music. No, I totally agree. They're one of
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these bands that I kind of wish I could, you know, visit an alternate universe. Why I don't come
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to it with any baggage, you know, and I just understand like this person loves them and this person
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hates them and they both have good reasons and they're fighting, you know, on message boards or whatever,
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like all the critical noise in my head. Again, off just a handful of songs, you know, just basically
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Oxford, common, a couple others, you know, and there's suddenly, you know, hundreds of thousands of
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words online for me to digest professionally. You know, I'd like to think that doesn't color the
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way I hear just the music, but I don't think that's really the way music works. I think I've always
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had all this discourse in the back of my head. And it would be nice just for 10 seconds to not have
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it, you know what I'm saying? Yeah, definitely. Although I mean, looking at this, I love the discourse.
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Well, sure, we all do. We all claim to not love the discourse, but we all secretly love the discourse,
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you know, and so it's a love hate thing for sure. Absolutely. How do you think about that discourse
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now, like almost 20 years later, right? Like it can't help but feel a little quaint to me that in 2008,
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you know, we all had time to argue about this. And this seemed like one of, you know, the most
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pernicious and unpleasant things going on in the world. We had a band of Ivy Leaguers doing like
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Afropop, right? It does, it feels a little weird to me. What a what a hot ticket issue this band
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was at the beginning. It seems like we should have had other stuff on our mind, maybe.
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It is kind of bizarre that it's set off so many alarms, but like I don't know, people are so
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protective of of their music scenes. And you know, people also are very interested in reasons to get
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angry. I don't know. I mean, it doesn't the extent of it and the intensity of it is what kind of
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blows the mind. But like, I feel like if they were a new band now, there would still be the reaction
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that they got would be somewhat similar to the reaction that they get now. Like they're just such
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unique artifact like the way that they carry themselves and the way they present themselves,
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it stands out and it is kind of softly confrontational in terms of.
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And I mean, they knew what they were doing. They very consciously positioned themselves in a certain
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way to stand out. Yeah, softly confrontational is a great way to put it, right? Because it's not
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it's not trolling, right? Like they're not it's not it's not insincere, but they know what they're
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doing. They know that this is going to bother people in a way that's also going to get attention and
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also attract people. You know, there's a Ryanness and a knowingness to it. Like they know how to
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kick up a fuss. Like Ezra was a blogger. You know, these these are people who know how to be online
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and to stoke conversation online, you know, occasionally among people who come to hate them,
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you know, they know what they're doing. Yeah, and you mentioned when we were emailing, you
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mentioned like the the fashion aspect of that too, like the the preppy qualities. And it's like,
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I think that that does matter to a certain extent too. Like it's yeah, it's popular music. And so
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therefore it's show business and image does factor in. It's like it's mainly when you're talking
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about appreciating music, it is mainly about the sounds coming out of the speakers, but it's not
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only about that. And like, I think about, you know, the way a band looks affects whether you even
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choose to engage. And then there's beyond that, there's like, in terms of music fandom, like
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that's another thing that I write about in the book a lot is kind of a thread throughout the book
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is music fandom as a way to construct your identity, like not just around the things that you enjoy
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listening to, but the things that, you know, the that reflects how you want to present yourself
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to the world. So like for them to come along in 2007, 2008, like in these polo shirts looking
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more like the John Mayer fans at my high school and be heralded as a vanguard of indie rock,
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it does kind of scramble your brain. Of course, yeah. And as you write, you know, you're you're
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defining yourself as much by the things you hate as the things you love, right? And I think
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vampire weekend we're very useful to people as like the outer boundary, like I love vampire weekend
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is one identity. I hate vampire weekend is another, you know, just as distinct identity. I can
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almost picture the hate person before the love person, right? Like if you're going to define
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yourself in opposition to one band from this era, I think vampire weekend is a pretty vivid,
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you know, foil for you personally. Yeah, absolutely. You talk late in the book, you know,
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the first two albums are great, but you talk late in the book about modern vampires of the city,
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you know, their third record from 2013, and you call it one of the most important records
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of your lifetime, you know, I think a milestone in my own transition to full fledged adulthood,
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you know, as you say, like I think this book, this band's arc and this band's catalog sort of mirrors
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the way you talk about the Indiraq explosion as a whole. Like what is it about this record and
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this era and the overall, you know, album to album transition of vampire weekend that resonates
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with you? I mean, I knew pretty much right away that I loved the album. It was kind of like the
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album that unlocked this band for me in a way. Like I had listened to the first couple albums and
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liked them, and I, you know, I went to see them a couple of times. Like I was kind of a casual
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fan, but like I had this experience listening to modern vampires right after it came out, I was
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covering the Hangout festival, a music festival in Alabama on the beach, and I had to drive a
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rental car along the Gulf Coast to get there. And so I'm just listening to modern vampires of
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the city having this like serene kind of, you know, just one of those special listens to an album
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that you'll have sometimes. And so I pretty much immediately knew that I was like, oh, this,
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I think I'm becoming a much bigger vampire weekend fan this album cycle, but there were other
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aspects of it that made it important to me like for one thing, my as much as I like Indiraq,
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my wife doesn't really care about Indiraq, and this is like one of the only Indiraq albums that she
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actually enjoys. So it's kind of like a foundational record of our household, but then there was
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the aspect of like it came out right before I turned 30, and you know, I'm only, I'm a few months
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over in Ezra. So like he's wrestling with the same idea as it kind of just hit me right where I was
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at in terms of feeling like my youth was over and my clock was ticking. Plus I always am extra
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interested when artists I like start wrestling with like spiritual existential religious type
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questions. And I know I wrote this year end essay in 2013 about modern vampires of the city and
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Jesus that I have not gone back and read for a while. And I'm kind of afraid to go back and read it
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now, but you know, drawing, drawing parallels between my two favorite albums of 2013 at the time.
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So anyway, yeah, it was very important now for me. That was it's so funny because I went and looked
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at the Paz and Jop year end critics chart for 2013 and number one is Jesus and number two is modern
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vampires of the city. And I was like, well, that's funny. Those are two very different head spaces,
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you know, to occupy and even consider occupying both simultaneously is very funny to me.
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I think my point with the piece was something about how they were both like freaking out about
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the onset of new adulthood. Sure. Right. You know, obviously Kanye's way of freaking out was
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quite different from Ezra's, but there is no where the hell is my damn croissant moment on the modern
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vampires record. You mentioned the spiritual part and I my favorite song off that record and my
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favorite vampire weekend song still is Yahayi, you know, which is it's really lovely, but kind of an
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intense song, you know, where Ezra who's Jewish, of course, is talking either about or to God,
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you know, like he's singing, it seems to me anyway, singing directly to God. It's almost like an
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argument and my you've written really beautifully both in the book and elsewhere about, you know,
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growing up in an evangelical household and how your your life is a Christian and your life is a
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rock critic intersect. Like I wondered what you made of that song Yahayi in particular, you know,
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and this thread through the whole modern vampires album as you say of like grappling with spirituality.
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It's interesting because like Ezra always is obviously, you know, filling up his songs with all
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these references, kind of these eclectic references to different geography, different cultures,
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different pop culture moments. And I felt like on that album, there are still some of that going
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on, like, you know, you listen to Step and he's quoting Soul's Amishif and then talking about
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modest mouse and it's sort of the juxtaposition thing is still happening, but like the
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spiritual stuff on that album, it doesn't come off to me as like clever. Like it's one of the times
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when I feel like he is really like honestly wrestling with those things like there there are times
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when it's just like, oh, well, you know, look at this trick that I pulled off. I wrote this clever
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little song with this clever little references and it's like, I don't really see that happening when
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he's like, it feels like he is getting kind of raw on Yahweh and like, you know, bringing some
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like legit concerns before God and, you know, obviously like you said that's something that kind
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of courses through the whole album and you've got unbelievers and other stuff. And so yeah, I mean
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that's probably one of the reasons I like it because I do, I appreciate Ezra as like the
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clever guy and I appreciate the eclecticism and the sophistication and the layers, but like
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there was something very human about that album and about the way that he approached those
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subjects that doesn't necessarily touch everything he writes. Right. And I think that continues. Like
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I think part of the reason that Vampire Weekend continues to resonate, you know, it was 2019
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is Father the bride, right. And like the one Vampire Weekend song, my kids, you know, my teenagers
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now, Latched on to his Harmony Hall, you know, which I think is in that same vein. It is, it's not,
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it's not that it's not clever, but it's less about cleverness for its own sake. There's more vulnerability,
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more humaneness to it. I don't want to live like this, but I don't want to die. Like I, that seems
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like a pivot, like a step like an evolution that he took as a songwriter and the band took as a
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band that isn't, that's not necessarily going to happen. You know, there are plenty of bands,
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great bands and during bands, you know, that don't evolve, you know, who don't get to that phase
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of seeming like an older mature, more thoughtful version of themselves. And it's very cool that
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Vampire Weekend figured out how to kind of do that. Yeah. And I, I feel like you're right that,
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I feel like Father the bride has a really good balance of that like genuine searching and kind of
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like real life existential crisis mixed in with with the winking side of things. Yeah. You talk a lot
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in the book about, you know, like the importance of the OC, you know, the TV show and all the SYNC's
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Garden State, etc. Grayson, Adam E. You talk about Apple ads, you know, and just the way that
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this generation of musicians learn to love, you know, being on TV shows, being in commercials,
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you know, doing things that we were all taught, you could not do in the 90s. And so A Punk and
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Holiday, especially off Contra are like songs I love, but songs that I am always going to associate
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with seeing them on TV ads like a billion times, you know, like there was that Colbert
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rapport thing where the Vampire Weekend and the Black Keys like did like some sort of fake game
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show, making fun of themselves for being in so many ads, right? Like being, you know, very knowing
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and right about it. But I wondered if all the commercialism, you know, if the selling out, you know,
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affected the way that you hear these songs or any of the Vampire Weekend's music. Or we all
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worried about this the whole time for nothing. I mean, I don't think it's like an antiquated thing
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to say that it like taints your experience of the music if a song appears in a commercial and gets
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I mean, I think that the politics, like the scene politics around it definitely changed
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because like people people just kind of came to tolerate that stuff because I think people
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understand more and more how hard it is to make a living in the music industry. And I mean,
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it's got it's only gotten harder since those songs were in commercials. But like at the same time,
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it's like, you know, I hear A Punk and Holiday and I think of the commercials. They're, you know,
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the I'm able to if I'm in the flow of the album, maybe lock in and kind of set that stuff aside.
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But like it definitely like can recontextualize the song the same way that like a song appearing in
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a movie scene or something would. And so like I think the idea of like being a sell out,
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it's so interesting how it's going away because some of its fine necessity. But I think some of
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it's also probably opportunistic like, you know, the idea of like this indie music edging up
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towards the world of pop and pop like suddenly becoming kind of like the like the taboo that's being
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explored like, ooh look, we're an indie band that can go pop and we're, you know, we're not
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going to apologize about it like it was convenient that that was sort of the trendy,
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critical line of thinking at the same time. Right. When when it became maybe more of a necessity
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to get by. Yeah, it's cool that we're trying to make money now. It's it's very
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convenient for us. And do I have this right that Ezra suggests on Twitter that I'm what's the path
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of the Beyonce song. Oh man. Hold up. I it's he's involved there somewhere. And I don't know if it's
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in if he just suggests it or if he actually contributed it. But he's sort of emblematic of that
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period where like father John Misty is invited to like try and write Beyonce songs or whatever.
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Like that's another thing that was not thinkable, you know, in the 90s or particularly even when
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vampire we can started. But suddenly became a huge thing as you write, you know, by the end of
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the explosion. Yeah, man, hold up by Beyonce is so interesting because like, yeah, you know,
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it's you know, it's built around yeah, yeah, yeah, yeah, and it's created the concept came from
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from Ezra. He did tweet something and he was working with Diplo in the studio. And thank God
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Diplo is involved. Yeah, that's a huge relief to me actually. I don't I don't remember. I think
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that is the the Beyonce song that father John Misty also worked on if I remember correctly. So
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it's just like such a fascinating artifact along with like, right, maybe four or five seconds.
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I think that that Rihanna Kanye poem, a cartony song has Dave Longstruth from dirty projectors
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in the credits. And you can totally hear it like in the bridge of the song like it just goes from
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being, you know, a few chords to like these, you know, bizarre melodies tangled in the, you know,
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jazz chords. You can hear that. Oh, that's the part Dave Longstruth wrote. Yeah.
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What a time to be alive to wrap up. I think you've already answered this question,
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but I'm going to ask it anyway. Like is vampire weekend just dad rock now? And is that such a bad thing
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if they are? Yeah, I mean, I think they got to be I know from a practical standpoint,
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I know you told me you told your you took your kids to see them. And I did. Yes.
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I actually took my daughter to see them in since now you last year because my wife couldn't make it.
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But so that in the objective sense, I guess that makes them dad rock. But I think there's two
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dimensions to that to think about too. Like one is just that like all of that sort of millennial
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indie rock as, you know, millennials and, you know, excenials age into into parenthood.
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Then you yeah, basically anything that that dads like when they were young when they become
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dads, you know, I think is dad rock by default. But there's also like with with father of the bride,
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it was so interesting they they had been they had been so much a part of that wave of the
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indie bands going pop and they just pivoted in the other direction with father of the bride and
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kind of embraced that vaguely jam bandy type sound. And like Ezra like apparently just got into
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to fish in the dead a lot and they were doing the whole sandals thing like it just they kind of
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steer directly into the dad rock thing. And then maybe that's just an example of, you know,
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they're always kind of zigging where people expect them to zag. But yeah, I think as as someone who's
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who's been a dad for a while now, I've kind of let go of having any kind of shame about the term
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dad rock. And I'm like hell yeah, dad rock. By the way, father of the bride super underrated,
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I think it's everybody's good as modern vampires. I think it might there are definitely days when
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it's my favorite vampire weekend album. And the people who felt like it was a misstep or like not
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as good as the first three albums are totally wrong. I need to get that on the record. I mean,
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it's already I'm already on the record writing it many many times at stereo and on social media. But
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I just, I know audio I need to get it on the record. It's another medium. It's a it means a
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totally different thing. And I agree with you actually, it's my kids favorite, you know, the only
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vampire weekend record they really know or care about like even at the show, the songs that they
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picked out and wanted to hear in the car after we're all we're all father. The song called sympathy.
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And so there yeah, I don't know. I'm not I'm wondering if they're responding specifically to
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the jam band aspect to the dad rock aspect. What it is about that record specifically that's more
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appealing to them, even then a punk, even then, you know, step. I would be curious to know
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what makes that record interesting to teenagers or at least my teenagers. But I'm happy to to
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to announce here on this show with your help that it's it's everybody is good. Is anything
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else they've done? Hell yeah. Join the movie. Hell yeah. This has been fantastic Chris. Thanks
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so much. It congrats on the book. Yeah, thank you so much. Thanks very much to our guest this week
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Chris DeVille. Thanks as always to our producers Olivia Creary Christopher Sutton and Justin Sales
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and thanks very much to you for listening. And now let's all go listen to A Punk by Vampire Week.
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Thanks a lot.