Beltmann

Besides an online search, I haven't seen the ads, either. I guess I don't watch enough TV. You know, for those of us who share jnickerson's dislike for overcommercialization, it's possible to more or less relegate the influence of that culture to the margins of our lives--frankly, I find that rather easy to do, which might explain why I also find it easy to separate Wilco's artistic moves from its business moves. If a song appears in an ad, there are no lingering connotations for me. (For those that experience the negative connotations and can't help but allow that to forever alter how the

More like Paul Reubens' death scene in the Buffy movie.

This weekend, three terrific movies: Knocked Up / Judd Apatow / USA / 2007 au hasard Balthazar / Robert Bresson / France / 1966 Werckmeister Harmonies / Bela Tarr and Agnes Hranitzky / Hungary / 2001

Beat me to it.

On that site, I found the link to this more interesting:

I suspect this was just an embarrassing slip-up, not an indication of ignorance on the reviewer's part. I imagine her reading it in the paper and saying, "Wait, how did that happen? Damn, now I look like an idiot." I remember once publishing a review of the movie Pollock, and I referred to Lee Krasner as Lee Krasden. It was just a slip-up, and when I read the published version I couldn't believe I had made that mistake--I knew all about Krasner previously, and I can't explain why I was thinking of The Honeymooners when I wrote that piece! (Krasner + Kramden = Krasden.) Sometimes the bra

I'd like to add that I don't think jnickerson is a troll; in fact, I think it's clear he loves Wilco and has some articulate thoughts about this particular issue. This is a good discussion to have, and I've enjoyed it.

Your consistent position: Selling

I felt the same way about Twin Cinema as you did, so I'm glad to hear your response to the single. Haven't listened yet, but I'm eager...

Speaking of unanswered questions, I posed quite a few yesterday that you failed to engage with, including this one: But how, exactly, has Wilco betrayed their principles? If their principles include a belief in the power of art, they have released a record that reflects their artistic ambitions. If their principles include a belief that their art should be shared with as many listeners as possible, they have utilized manifold marketing tactics that will help make that happen. I don't think those two beliefs are mutually exclusive. And perhaps the band feels that advertising is, on some l

I bought Being There. I didn't see the trap being set for me by our brave new world.

Speaking of negative associations that ruin songs, let me tell you about how much I hate the music video for "Outtasite." Whenever I hear that song, I think of those stupid parachuting shots and feel like all of the world's happiness is no more.

That's strange, I could have sworn I bought Monster when it was for sale. And it appears that REM has licensed its songs, including "It's the End of the World as We Know It", more times than Wilco has. Did REM sellout? Or did they finally arrive at the pragmatic conclusion that their earlier stand was predicated upon abstract, unfounded fears? Frankly, I don't care: I like "It's the End of the World as We Know It," and Monster means the same to me as it ever did.

I like Tom Waits, I respect Tom Waits, and I think Tom Waits is wrong--because while the songs may exist, sometimes, as a jingle, they don't have to become wholly a jingle. A song with genuine artistic power transcends the occasional commercial use.

I'm not a fan of LNGCA, but I wouldn't change a thing about this version of TTIG.

No, we're not talking about how Nels Cline has ruined Wilco with his Muzak.

I'm not sure if I liked it more or less than Funny Ha Ha, but I still think Andrew Bujalski's a movie or two away from the home run.

A few ideas recycled from another thread: The negative reaction to the VW ads is largely predicated upon the assumption that commercial use automatically debases the art, which is an argument I understand, even if it strikes me as knee-jerk. I don't think commercial use always debases the art--to believe that, one must first subscribe to romanticized ideas about artistic purity. Don't get me wrong: I too believe that Wilco's music is art of the highest order, but hearing a few notes in a transient advert doesn't interfere with how I respond to that art, or alter what that art means to me.

"We're Just Friends" I'm not kidding.

Solace, how do you feel about that Tegan and Sara record? I was waiting to hear some buzz...