Craig

Facebook Break, Part 2

So, I hadn’t been on Facebook directly for about a month until a couple nights ago (not counting one post from Spotify, where I tried to post to Twitter instead of FB but did the opposite – stupid share buttons). Man, the nostalgia wave was intense. I enjoyed my sojourn into the internet wilderness for a month, but this one relapse visit just made it feel lonely.

My renewed interest was piqued by their announcement of Facebook Home. It is an intriguing concept. The cynic in me knows they just want to put one less layer between you and them (and their ads). The pragmatist in me knows that Android has been dying for some kind of integrated messaging ala iMessage, and this looks like a great solution (until Google announces their own at I/O next month). It is another great way for them to leverage their user base and practically inevitable since their introduction of their own app system. Facebook is the only social network robust enough to attempt something like this. I will try it out of morbid curiosity, and will probably start sharing things there more often. At least until I want control again.

But, that aside, it was very easy to function without Facebook. There was more time to read important things, like literature. My phone locked up less often, honestly. I could find updates in other places if I needed to know how someone was doing.

Coming back was even easier, though. One picture posted, 5 likes by the end of the night. Churning out content is fairly easy, but without a built-in audience, what is the point? I guess when the average user is ready to drop out of there and go somewhere else, I know that I will be ready too.

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Comedown Machine

I didn’t listen to Is This It until after I had heard Room On Fire. That means I have no hipster cred, and was not fully aware of the hype surrounding both (but primarily the first) at the time. Much like the Grantland review, I have days where I think the latter is better than the former. But damn, it does not get much better than the simplistic beauty of tracks 2-4, or 1-8, or hell, the whole debut album of The Strokes.

I was hooked. I have bought all the albums since then, on release day. I bought most of the solo albums, and listened to the rest online. It’s how I was able to recognize Little Joy (Fab!) when it appeared in a VW commercial. It’s the reason I don’t understand why it is cool to hate The Strokes.

Music journalism has a nebulous goal: to translate the sonic and aesthetic qualities of a musical work or group into the written medium, which inherently cannot convey all of said qualities. And the world (from America’s perspective) was in a weird place after 9/11 (understatement like that deserves its own font). So that world simultaneously embraced NYC rock saviors and revolted against the hype machine that built itself around them. As Spin put forth, what would Is This It have been like in the age of Twitter? It might have still been polarizing, but I still feel like I would fall into the same camp.

As of right now, I have “All The Time” stuck in my head. “Tap Out” is interesting, and my favorite is “Welcome To Japan.” All in all, it is a good album, and it is a Strokes album. I am holding out hope that they will do more now that they have fulfilled their RCA contract, and that this album was just to be done with that (no fanfare? stock demo logo as album art?). I guess what I am trying to say is: Hi, I’m pilch, and I am a Strokes fan. [hi pilch] I’ve been a Strokes fan for roughly 10 years. I don’t really care about the next 11 steps in the process, I just needed to get that out there.

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