“This CD smells like cleaner…” If it plays all the way through without skipping, does it matter if the packaging isn’t in great condition? I own too many “fragile” CDs that might have a scuff or two of either my own doing or someone else’s. How do we balance a CD’s inherent fragility with wanting to play them? What if we’re still attached to the idea of listening to an album outside of digital means?
Staying in hotel rooms might help reduce hoarding tendencies. On a recent flight, I brought a nearly-full suitcase and the intention of only getting meaningful souvenirs. I had myriad materialistic moments between visiting: two music stores, one thrift store, one videogame store, one museum gift store, and five airport souvenir stores. I barely succeeded in not buying anything meaningless. My collecting intentions were focused around two questions. Second: “Do you have any rare Nirvana stuff?”
“If you don’t go to the store all the time, and you don’t look around that much, you won’t buy anything that you don’t need.” What’s the balance between buying the things you need versus merely wanted things? Should we be as minimalist as possible, or can we indulge in collecting certain things? My biggest current/future consideration is: how important are those wants for you and how much room do you have for those items?
A “taco festival” with only one vendor dedicated to tacos? Excelling in gluttony should be a priority for Sabroso Taco Festival, like noteworthy food festival Bite of Seattle, if they intend to overtake retiring punk rock festival Warped Tour. If music festivals are declining in ticket sales in the United States, new and remaining festivals need more diverse content enticing wider audiences that might otherwise only be moderately interested in music. Sabroso is nearly there.
Music Rating: ★★★☆☆ [“2.8″/5]
Non-Music Rating: ★★★☆☆ [3/5]
Tacos/Food Rating: ★☆☆☆☆ [1/5]
Overall Rating: ★★★☆☆ [“2.2″/5]
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Most people shy away from differing opinions. I embrace them! Nirvana is my favorite band, IDKFA dislikes them, and our debate fortified my opinion. Our differing opinions on Avenged Sevenfold, Metallica’s recent tour opener, converged in a civil way. They are William’s (Keyboard Kommander lead programmer) favorite band, IDKFA thought they were mediocre, and I’d see them again. Since “all opinions are valid,” let’s consider the psychology of opinions, especially: why get offended over opinions?
(The) Melvins have the musicianship and showmanship that could have made them the biggest band in the world. If they cared. They would have been bigger than Nirvana if they removed anything weird about their slightly inaccessible brand of heavy rock. They have the relentless work ethic to compete with The Beatles. Would compromising their sound be worth the money and fame? Would they still be the same Melvins? Or would they fade from relevance?
“You can listen to whatever you want in the [float] tank.” My thoughts immediately went to grindcore band Wormrot. I prepped their 2016 album Voices [shown below, left] for my next session. When the album queued up, after Runaljod: Ragnarok by Wardruna concluded, what an incredibly subversive moment! Twenty-six minutes later, I gained a deeper appreciation for some of the most abrasive music I’ve found outside atonal noise music. What’s the appeal? Isn’t pop music nicer?
I think we complain when we’re too emotionally invested in some logical frustration. It’s the thorn in the side except we’re so overwhelmed by the situation that we don’t know what to do. Certainly not letting others help! We might even lash out against them. It’s natural and cathartic to complain to others. It’s just that we should always try to complain to attain remedies to our ailments, rather than repeatedly replay our dissatisfactions, infinitely.
My first entry to the Better Zombie catalog eight months ago was a proto “Thrifting Adventures” post about a thrift shop I like and some stuff I got there. I made this review and forgot about it. As I’ve been clearing out my backlog, upped my lightbox game, and strengthened my reviewing skills, I figure I’ll add to that practice and get this review of the Sub Pop Video Network Program 1 tape in the can.
While there’s a certain value in consistency, how worthwhile is it to the audience if the performers (and consider this thought to be applicable to any function-driven pursuit along with creative pursuits) are just going to remain comfortably good enough? Pushing the boundaries can lead to amazing experiences or can burn out faster than the candle in the photo featuring Crack Sabbath performing recently at the Royal Room. Where’d Skerik and company fall?