Beltmann

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...

Same here... and that show prompted me to buy every Riviera record and catch them at several of their own shows, too, including once or twice in Milwaukee. Stacy and I are going to miss this band. Good luck, Derek, from both of us!

Yeah, "Audio CD" is all mine said, too. When I clicked on it (or was it right-click?), a new window opened that gave me access to the songs as well as the bonus files. (I couldn't get to them using Windows Explorer, or by trying to open them from the Quicktime file menu, which seems lame.) That seems to be the rumor... if it's true, I can't help with that! Does anybody know for sure that this is the case?

I was thinking the same thing... it's at least the best in recent memory.

I'm on XP. When I click on the "My Computer" icon, this screen comes up: The Quicktime settings, at least as stated in these instructions, can be adjusted within Quicktime itself, not the operating system's Control Panel. Open up the Quicktime program, and then follow the steps. I hope this helps!

If I want those kind of basic, primitive reactions, I'll just ask my neighbor what he thinks about the record while we hang out in the garage. I guess I read critics because they attempt to offer some kind of deeper perceptions--when I pick up a review, I'm hoping to receive some insight that goes beyond a cursory listen. I suppose "pretension" is a relative term.

Hey, you can always trade it in for the new Dolores O'Riordan record.