I think I could put almost any modern country song here, as they are nearly all appalling. The dopey two-step beats, the horrible twang, the cowboy hat affectation, the utter lack of curiosity or twist in the songwriting – i.e. it’s funny that you love your country when you haven’t explored it beyond your barn.
Do yourself a favor and spend some time today looking at Jerry Uelsmann photos. Unbelievably prolific. Ridiculously technical. As the MOCP said:
Made entirely in the darkroom, Jerry Uelsmann creates his surreal photographs in a series of steps, masking and exposing different areas of photosensitive paper as he changes negatives. He maintains some loyalty to the aesthetic of traditional landscape and still life photography, insofar as the seams and edges of each successive element are concealed, and the resulting composite suggests the unity of a singular view or scene. The metaphoric and symbolic force of Uelsmann’s photographs is derived from these juxtapositions, consistencies, and forms. Uelsmann’s photo-montages extend the tradition of surrealist photography pioneered by the avant-garde photographers and painters of the 1930s and 40s: positive and negative spaces are inverted and false reflections appear in earth and water, architectural elements like windows and doorways bound tapestries of sky and sand.
What they don’t say is that he’s also a funny motherfucker who loves music, and how impossible it is to imagine how much work he’s created in that complex style. Oh yeah. And JBJ’s a fan. See also
While off down internet wormholes prompted by this blog, I ran across the horrible clickbait article “Best Band from Every State,” which is designed mostly to start fights. It caught my attention because the Boys of Beach, above, and as pictured in the article, might qualify for the California designation… but not without Brian Wilson, SMH.
Anyway, I learned a little band geography and will be curious to see everyone’s reaction. As the sometimes Pacific Northwest rep, I’ll say that they’re right about Idaho, glaringly wrong about Oregon, and a little off with Washington.
The uplifting 89-minute documentary was directed by award-winning filmmaker Mary Wharton (Jimmy Carter: Rock and Roll President, Sam Cooke: Legend, Elvis Lives!, The Beatles Revolution) and first debuted in March as an Official SXSW 2021 Selection, winning the festival’s Audience Award. The film went on to win Best Documentary Film at the Boulder Film Festival and received widespread critical acclaim throughout the film festival season. The picture digs deeper into 2020’s critically acclaimed certified gold reissue, Wildflowers & All The Rest (Warner Records) which revealed the long anticipated second half of Tom’s autobiographical masterpiece. The film illuminates an artist at the height of his powers, providing an intimate and emotional look at an enigmatic icon with archival footage of Petty and his band in the recording studio, behind-the-scenes on tour, and at home with his family, providing a view of Tom Petty as he has never been seen before.